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It is a bitter January day in the year 1897.
In Reading, in the south of England, a harsh wind is blowing.
Though it is barely 3pm, the sky is already beginning to darken.
Despite the unforgiving conditions, a middle-aged man clad only in a rough woollen jacket and trousers is tending to a garden.
He digs up withered plants with a small trowel, pulling them out from the roots to make way for the new crops that will be planted in the spring.
It is hard going.
The ground is almost frozen solid.
Pausing to catch his breath, he glances up at the tall wall surrounding him on all sides and the securely locked gate to the garden.
Because he is not in his own home, but in the grounds of Reading Jail.
Despite the cold, though, he is as content with this work as he can be under the circumstances.
After all, every minute he spends digging in the frigid soil is a minute away from his cell.
Too soon.
The solace of his work is brought to a close by the mournful tolling of the prison bell and the warder standing guard gestures him to stand up.
The inmate is marched back to the main prison, an imposing red brick edifice built just a few decades before.
In silence, the two men head towards Ward C and make their way up to the third floor.
The warder unlocks the third cell along and the prisoner steps into the narrow room.
Most of the space is taken up by a low, uncomfortable bed, and the only natural light comes from a tiny window set high in the far wall.
Before re-locking the cell, the warder surreptitiously reaches into his pocket.
He hands the prisoner a note written on cheap paper before quickly shutting and locking the heavy door.
Alone again, the man turns his attention to the note.
It is a literary inquiry.
The warder wants to know whether Charles Dickens is still considered a great writer.
This is not a typical interaction between a guard and a prisoner, but then prisoner C33 is not a typical prisoner.
He is the famous author Oscar Wilde, and his occasional conversations with this particular prison guard have become one of the few bright spots in his otherwise dark existence.
Wilde sits down at the small table in his cell.
Picking up a pencil, he dashes off a quick answer about Dickens on the other side of the note before taking up the fresh piece of paper that has been left for him.
Then he closes his eyes for a moment.
He is only permitted one sheet of paper a day.
So each time he sits down to continue his work from the previous night, he must first remember where he left off.
At last, he opens his eyes, places the tip of the pencil on the sheet, and begins.
Oscar Wilde is remembered as one of the greatest late Victorian writers and a leading light of 19th century London's cultural scene.
The author of diverse works, including comedies, morality tales for children, biblical dramas and even a Gothic novel.
Wilde was also the originator of any number of witty quotes that can still be found adorning everything from posters to mugs to t-shirts.
Alongside his literary renown, Wilde is revered as a martyr for LGBTQ plus rights, famously convicted for so-called acts of gross indecency with other men.
The two years of imprisonment he endured epitomize these dual legacies.
His literary genius and his personal life shaped by what his long-term lover called the love that dare not speak its name.
So how did a young man from Dublin become such a famous author in England and beyond?
What inspired Wilde's plays and poems?
How did he fall foul of Victorian moral sensibilities and yet still come to enjoy the legacy he does today?
I'm John Hopkins.
From the Noiser Podcast Network, this is a short history of Oscar Wilde.
By 1854.
Ireland's devastating Great Famine has only just ended and the country remains under British rule.
But though many are still destitute, it is into a household of privilege that Oscar Fingal O'Flaherty Wills Wilde is born in Dublin in October.
His parents, William and Jane, are prominent in the cultural and intellectual life of the city.
Sos Eltis is a professor of English and theatre studies at Oxford University and a fellow at Brasenose College.
They were Anglo-Irish ascendancies, so sort of from Protestant roots in Ireland.
As they moved up in the world, they moved to Merrion Square in Dublin.
His father was William Wilde, who was an eye surgeon.
He was knighted for services to ophthalmology and was actually an eye surgeon to Queen Victoria.
And his mother was Jane Wilde, who was an Irish nationalist poet as well as a collector of fairy stories, as indeed was his father.
So Jane Wilde wrote under the pen name Speranza.
Jane and William Wilde are devoted to their three children, Willie, Oscar and Isola.
The striking six-foot-tall Jane is not only a writer but a political firebrand, campaigning for women's rights and calling for an armed insurrection against British rule.
It is from her that Oscar inherits both his height and passion for literature.
Oscar enjoys a comfortable upper-middle-class childhood.
At the house in Marion Square, the family are attended by six live-in servants.
When Oscar is young, his father builds a country retreat on a large plot of land in County Mayo.
But though the family enjoy their summers there shooting, fishing and examining local archaeology, the profligate spending on real estate will come back to haunt them.
Back in the capital, his parents hold regular soirees at which the young Oscar mingles with the leading lights of Dublin's cultural scene.
There are accounts of him sitting on the leading Irish playwright at the time, Dion Busco's knee at some of these sort of literary soirees.
So he was certainly mixing with different people.
In later life he will write that the best education he had was listening to the knowledgeable, entertaining conversations that took place around the dinner table at Marion Square.
Both Jane and William Wilde are smart, sociable and fond of causing a sensation.
Perhaps a young Oscar learns to be unconventional from his parents too.
He also receives a first-class formal education.
After they outgrow their governesses, he and his older brother Willie, are sent away to school in January 1864.
He went to Portora School in Enniskillen.
He was clearly a speed reader, almost had a photographic memory, which definitely helps when it comes to academic performance.
So he won classical prizes at school and so on.
But you know, if you read the very few letters there are from school, they're mostly about send more jam or something.
They're not the kind of letters of some extraordinary child prodigy in that sense.
It is in his last year at school that Oscar begins to shine academically, especially in classics.
He also continues to read, widely devouring the works of Dickens Austin, Poe and Shakespeare, among others.
Some dark clouds mar this otherwise sunny childhood.
When Oscar is 12, his beloved younger sister, Isola, suddenly dies following a short illness.
The family are understandably devastated by the death of their only daughter.
In his grief, Oscar turns to writing poetry as a means to express his emotions.
Though sadly, none of this juvenilia survives.
It is the first time he turns to writing to get him through hard times, but it won't be the last.
In October 1871, he joins Trinity College, Dublin, just a few days shy of his 17th birthday.
He studies classics, and though he is close to his professors and excels in class, he does not get on with his classmates, many of whom seem to prefer sex and drinking to intellectual pursuits.
In 1874, after three outstanding years, he wins Trinity's highest prize in Greek, the Barclay Gold Medal, together with a scholarship to study classics and ancient history at Magdalen College, Oxford.
In the 1870s as today.
Magdalen is an especially pretty college, bounded on one side by Deer Park and on the other by the tranquil River Cherwell.
In this new environment, Wilde reinvents himself, cropping his hair short and buying a new wardrobe of checked suits and jaunty hats.
He becomes known for his sharp conversational skills and, in a departure from his attitude towards his Trinity classmates, throws himself into the social life of the college.
Perhaps too much so.
He is often fined for breaking college rules, failing to attend lectures and going out drinking.
In 1877, he takes a formative trip to Greece and misses several weeks of classes, after which the college authorities suspend him for a term.
Yet amidst the parties and holidays, Wilde is a dedicated student.
He was, I think, quite clearly one of those really annoying undergraduates who is very clever and makes a pose of never being seen to work so that everybody can think he's thoroughly brilliant.
So he did work reasonably hard, but mostly, I think, in secret, so that he could then make it all appear spontaneous, which was something that he cultivated through his later career the idea of this kind of insouciant brilliance that's the product of extraordinary intelligence rather than hard work.
More than the curriculum at Magdalen, Wilde's curiosity is stimulated by the wider intellectual currents at Oxford.
In particular, he becomes influenced by what is known as the aesthetic, cultural and artistic movement.
I think the easiest way of defining or getting to the core of the aesthetic movement is the doctrine of art for art's sake.
And that ultimately means art being valued, not for its use, not for utilitarianism, not for you know how it relaxes you or how it brings communities together, or something like that and importantly, not for market value and not for how it accords with public tastes, but rather art for beauty, art for style, for design, for its intrinsic qualities and how they make the individual feel.
But there are other aspects of aestheticism that are important to us.
Another kind of line comes through Ruskin and into William Morris, and that's the valuing of art as something in a sense ordinary, something that surrounds us, and that isn't just for the elite but for everybody.
And it's going back to the idea of the craftsman and the designer.
So the idea that we should surround ourselves with beautiful objects.
It's not about acquiring a huge number of machine-made valuables and coating a mantelpiece in them, but rather selecting often very ordinary objects chairs or glasses or whatever else the ordinary paraphernalia of life, and that that too should be beautiful.
But his university years are marked by tragedy. when in 1876 his father William dies.
In the aftermath, the family learn of his extensive debt.
Wilde's response, however, is to return to Oxford, ignoring his now precarious financial situation.
In the summer of 1878 he secures a double first from Magdalen, meaning that he has achieved the highest degree classification in both his first and final year exams.
He also enjoys an early taste of literary success, winning the prestigious Newdigate Prize for his poem Ravenna, written after his first visit to the Italian city the year before.
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After graduation, Wild moved to London.
Chasing success, fame... and perhaps even notoriety.
He wants, in his own words, to eat the fruit of all the trees in the garden of the world.
Having just sold some houses left to him by his father, he has a small amount of money, but once this runs out, he will live largely on credit.
Not letting his uncertain financial future dampen his spirits.
A 24 wild is witty and charming, with a great sense of humor, although he has by this point lost his Irish accent.
After his mother moves to London, despite her earlier political opposition to its government's control of Ireland, he begins to meet authors and artists at the literary salons she holds.
Women in particular love him, and soon he is being invited to all manner of dinners, balls and tea parties.
He becomes close to a succession of beautiful and famous women, including the French actress, Sarah Bernhardt, and Lily Langtry, mistress of the Prince of Wales.
Wilde also begins to court the press.
Satirical cartoons have long parodied the aesthetic movement, caricaturing its followers as effeminate young men who live only for art and beauty.
Wilde sets out to embody this stereotype.
Very early on, he's committed to becoming famous.
He's interested in being a public figure.
He's interested in being a name.
If you're looking at Wilde's relation to aestheticism and the aesthetic movement...
It was hugely convenient.
So Wilde, with a lot of his sayings about you know, I find it harder and harder every day to live up to my blue china.
And he gets a cello coat designed.
So a coat where the back is in the shape of a cello.
And wears this, you know, gets that specially custom made for him and then goes to kind of gatherings in London in it.
The fact that he's there kind of opening exhibitions at the Grosvenor Gallery and so on.
He uses the aesthetic movement to place himself as a kind of public figure as part of it, and that really helps advertise him.
He becomes a figure of gentle ridicule in magazines such as Punch, and his witticisms are widely reported and then repeated around London.
He is even parodied by the masters of Victorian comic opera, Gilbert and Sullivan, in their operetta Patience, a satire of the aesthetic movement and its followers.
It's thanks to his reputation as the living embodiment of aestheticism that, in 1881, he receives an exciting offer from the theatre impresario Richard Doily Cart.
When Doily Cart send patients on tour in America, they ask a young Oscar Wilde to accompany the tour and in effect go ahead of it lecturing on aesthetics and, in effect, advertising the movement that the operetta then parodies.
Wilde agreed to go on the tour of America with Doily Cart.
Quite simply, at that point, he's looking for employment.
And one thing people don't know some of the other things he was looking for.
He applied to be a school inspector.
He offered all sorts of translations of classical texts and so on.
He applied for a fellowship and failed to get one.
So Doily Cart offered plenty of money as well as status on the American tour.
So he says yes.
On Christmas Eve 1881, After a farewell dinner with his closest friends, Oscar Wilde set sail from Liverpool on a ship bound for New York, hoping to find fame and riches across the sea.
Wilde spends nearly a year lecturing in North America.
To begin with, he is not always well received.
At the beginning of the tour, he's not particularly successful at all.
He tends to talk in a monotone.
I mean his subject matter, the English Renaissance of Art isn't necessarily of huge interest to the gathered audiences that come to hear him, and they can't necessarily hear him very well either.
He talks for over an hour in this kind of rather flat monotone according to responses, and he ends up being parodied in the press to a large extent.
He soon develops a less abstract talk, speaking on the decorative arts.
It is a roaring success, and new dates are quickly added, some in surprising locations.
It is the evening of the 14th of April 1882 in Leadville Colorado, a silver mining town nestled in the Rocky Mountains.
A young miner sits in the vast 800-seat opera house built by the town's founder.
He is surrounded on all sides by men like him, red-shirted and blond-bearded, with hands calloused from hard work.
The man lecturing them on art history in an upper-class English accent could not be more dissimilar.
Dressed as he is in immaculate black evening dress and a snowy silk cravat.
As he begins to talk about Renaissance Italian architecture, someone from behind the miner shouts out that over here they live in wooden houses.
And the crowd laughs.
The speaker, Mr. Oscar Wilde, seems unperturbed by the heckle.
And as his talk progresses, he wins the crowd over.
Several times the young miner even finds himself laughing at his humorous, incisive remarks.
As Wilde finishes, the room breaks into a loud round of applause.
Before the miner can leave, he is grabbed by a friend.
The owner of the mine wants them to show Wilde the sights of Leadville.
They head over to meet him, shaking hands and introducing themselves.
Then the group head out into the night.
But if their visitor was expecting high-class establishments, he was much mistaken.
They lurch from bar to bordello, showing Wilde the best of what their town has to offer, an experience he seems to thoroughly enjoy.
By the time it is fully dark, the group are staggering drunk down the main street.
A few meters ahead of them, yellow light spills onto the street as the door to Pap Wyman's saloon swings open.
The young miner grimaces as the familiar sound of the out-of-tune piano drifts out.
But Wilde is entranced.
He reads the sign above the door.
Please don't shoot the pianist.
He is doing his best and doubles over laughing, clutching the arm of his newfound friend for support.
Eventually, the group reach a four-wheeled cart hitched to two oxen parked at the end of the road.
They climb aboard. several of them holding torches to light the dark road ahead.
As they are swallowed up by the night, Wilde is forced to grip onto the sides of his seat.
Soon they reach their destination, the Matchless Mine.
The young miner leads Wilde into the small wooden shack that has been built over the mine shaft.
He rummages through clothing hanging at the far end of the room before handing a protective suit to the Irishman who struggles to put it on over his dandyish black evening wear.
When he's finally ready, the miner takes him over to the large metal bucket that hangs over the mine shaft, attached to a winch and pulley mechanism, and helps his guest climb in.
He is a tall man so it's a tight fit.
But once he's installed, the writer crouches down and holds tightly onto the rope his knuckles white.
Then, visibly pale in the wan light cast by the torches, he is lowered into the yawning abyss.
All in all, Wilde gives a total of 140 lectures in 130 places covering over 15,000 miles.
He speaks in major cities to audiences in the hundreds and sometimes thousands, as well as visiting much smaller and unassuming venues like that offered in Leadville, Colorado.
That year, he becomes one of the most photographed people in America.
Many of these images come to define not only how the public at the time see Wilde, but shape how we imagine him to this day.
Some of those famous photographs of Wilde.
They're taken by Napoleon Cerrone, who's one of the leading photographers in America at that time.
And one set of them where he's in this great romantic sweeping cloak with a big floppy hat.
There's another set where he's wearing his beloved large coat.
And there are others where he's wearing the kind of knee breeches and silk stockings and looking sort of plaintive and dreamy.
And there's a sense in which he's trying out different images there.
And those become the images that are sort of attached to Wilde for, in fact, the next over a century.
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When he arrives back in England in early 1883, he is a true transatlantic celebrity.
Upon his return, he embarks on a UK lecture tour, regaling audiences with his impressions of the United States.
But getting his literary career off the ground proves less straightforward.
Though he'd published a volume of poems before he left for America, it was poorly reviewed.
And he can't seem to get the two plays he now writes staged.
When, in 1883, he finally has a dramatic work produced in New York Vera or the Nihilists, a romantic drama about Russian revolutionaries, it is a resounding failure.
Though his professional life is suffering, the year proves luckier for Wilde on the romantic front.
He re-establishes his connection with a young woman whom he had first met in London a couple of years earlier.
Wilde met Constance Lloyd, who was the daughter of a barrister, a very intelligent woman.
She writes in her own right.
She publishes a collection of stories based on stories that her grandmother told her.
She's a supporter of dress reform, more comfortable and less constricting and more practical dress for women and so on, at the same time as being beautiful dress.
And it does seem to be a love match.
I mean Wilde before that was engaged to Florence Balcombe, who then broke off the match to Wilde and married Bram Stoker, author of Dracula, which is another interesting kind of fork in the road of what might have happened.
Wilde proposes to Constance on the 25th of November.
She immediately writes a letter to her brother describing herself as perfectly and insanely happy to be engaged.
When the pair are married the next spring.
The bride's outfit features a variety of ancient Greek motifs, including a saffron-colored veil and a myrtle wreath in her hair.
After a Parisian honeymoon, the newlyweds settle in London, in a house in Tite Street.
They soon have two sons, Cyril, born in June 1885, and Vivian, who follows 18 months later.
Although Constance has a reasonable income from her grandfather, neither of the pair are sensible with money, and financial precarity will be a constant theme in their marriage.
In order to support his young family, Wilde writes book reviews and in 1887 is made the editor of the magazine Woman's World.
Under his guidance, the magazine modernizes and starts to publish literary reviews, serialized stories, travel accounts and pieces on various social issues.
He also begins to write and publish his own essays, as well as collections of short fiction.
He's writing short stories through the early 1880s into the later 1880s.
They're probably commercially his biggest success before his plays.
So The Happy Prince and Other Tales is the only one of his publications that sells out its print run and gets reprinted and carries on doing so.
So those short stories are very popular.
And he starts by the end of the 1880s, by sort of 1889.
He's publishing these wonderful dialogues, so The Critic's Artist and The Decay of Lying, which are written in dialogue form with a kind of provocateur and a straight man in conversation.
He also writes personally my favorite of his essays, which is The Soul of Man Under Socialism, which is a wonderful provocative.
It's not so much propounding socialism as anarchism, in some ways, the idea that you cannot govern.
And it's a superb manifesto for individualism and, in many ways, for modernism, for the freedom of the artist to reinvent forms and use art for their own self-expression.
By now, Wilde has become a member of London's literary establishment, with a growing body of work and a unique authorial voice.
But it's not long after he's settled down with Constance that he has his first gay relationship.
Tracing Wilde's same-sex relationships is difficult because it was illegal and so on.
There's Robert Ross, who becomes a lifelong friend of Wilde's and stands with him and by him all the way, through everything.
He claims to have taken Wilde's sort of homosexual virginity in effect.
He says he seduced Wilde.
So that's around 1886.
And he then has clearly some affairs, very close friendships, with the poet and writer John Gray, with Robert Ross, with you know various other people.
He's then beginning to move in kind of gay circles.
Wilde is discovering his sexuality in a climate hostile to same-sex desire.
Only a year or so before he meets Robbie, a law was passed making any sexual act between two men a criminal offense, punishable with two years' imprisonment and hard labor.
Previously, only the act of sodomy had been illegal and was difficult to prosecute.
But under the new legal regime any sexual contact between two men or even attempts to initiate intimacy is criminalized.
All of Wilde's same-sex relationships and encounters are thus conducted under the shadow of this legal persecution.
Yet Wilde bravely begins to introduce homoerotic themes into his work.
In 1889, he writes a short story, The Portrait of Mr.
W.H., about the beautiful young boy to whom Shakespeare supposedly dedicated his sonnets.
And a year later, he publishes the first version of his gothic novel, The Picture of Dorian Gray.
It tells the story of a handsome aristocrat who decides to commit himself to debauchery.
While the eponymous Dorian stays forever young, his portrait shows the weight of his sins.
As soon as it is out in the world, the novel attracts controversy.
I think Dorian Gray, of his writings, is the one that creates the greatest furore in all sorts of ways, because the narrative so closely follows Dorian because there isn't really there's no narrative voice saying.
And then Dorian did another terrible thing, but don't worry, he will pay for it.
The beauty of the prose in which the novel's written kind of asks you, the reader, to take delight in exactly what Dorian's taking delight in.
So the critics' dislike of the novel, disapprove of the novel, is rooted in two things.
One is this absence of a moral voice.
They accuse the novel of kind of wallowing in the crimes of Dorian.
And the other aspect is the worship of the painter Basil Hallward for Dorian's beauty.
And there are various reviews that give kind of coded references to the homoeroticism subtext of homosexual desire that's within the novel.
Some shops refuse to stock the magazine in which the story is published.
And yet Dorian Gray becomes a sensation.
Soon, Wilde produces a new extended edition and a response to his critics.
He publishes separately a preface to Dorian Gray, which in some ways goes right back to aestheticism itself.
So it's a wonderful set of, you know, there's no such thing as a moral or an immoral book.
Books are well or badly written, that is all.
So there's a sense in which you can almost see the publication Daring Gray as a kind of conversation between Wilde and the critics about what is art.
What's the role of morality in art?
What does morality mean within it?
What is a moral book?
Is it a book that has a moral voice to it?
Is it a book that has a moral, as in you know, there's a kind of the good ends happily, the bad unhappily.
That is what fiction means, as Miss Prism says.
Or is it a book that has a moral effect?
And you never know what the effect of anything is going to be.
Oscar Wilde's attempts to question the purpose of art and satirise the moral assumptions of his day continue into the 1890s as he begins to write the first of a series of modern comedies.
He also meets the man who will come to define the rest of his life for good and ill, Lord Alfred Douglas, known as Bosie.
So Lord Alfred Douglas was the third son of the Marquess of Queensbury, the Marquess of Queensbury, of course, being the source of the Queensbury rules for boxing about not hitting below the belt and all the rest of it.
And Lord Alfred Douglas goes to Magdalen College.
He co-edits a volume called The Spirit Lamp.
And also The Chameleon is another kind of magazine he's involved with.
And he writes a poem called The Two Loves, about the love that dare not speak its name.
And he's very overt about homosexuality in a way that is very, very close to the acceptable edge of what you could maybe get away with, and he has a lot of protection in a way that Wilde doesn't.
Theirs is an intense, obsessive and turbulent love.
They are also not discreet.
Douglas is seen in Wilde's hotel room on at least one occasion by a servant.
Constance seems to know something of the nature of their relationship and implores her husband to come home when he installs himself and Bosie at the Savoy Hotel for a month.
Despite her pleas.
Within a short while, Bosie has drawn Wilde into the underground world of male sex work.
Douglas indulges in and seems to delight in much, much riskier behavior, in much more sort of public flouting of norms of behavior.
Who has him consorting with rent boys, teenage boys.
He's paying for sex.
And also it's at that point that Wilde spends more and more time away from the family home.
And there's a sense of a kind of loneliness, I think, for Constance.
When he is not distracted by his lover, Wilde produces some of his best work as a playwright.
Lady Windermere's Fan opens in February 1892 and goes on to have a ten-month run.
It is followed in 1893 by A Woman of No Importance and two years later by both An Ideal Husband and The Importance of Being Earnest.
All four plays are incredibly popular with audiences, though the critical response is far from glowing.
What Walt does with Lady Windermere's fan and then with the other society comedies that follow, is he takes very, very familiar well-established, conventional theatrical forms of the day, but then does them slightly differently.
And he does them so well and so beautifully and so wittily that that they're a huge success.
But they also leave a lot of critics uneasy and a lot of audiences.
So Lady Windermere's fan ends with secrets between husband and wife.
An ideal husband ends with a politician who has sold a cabinet secret for money and was ready to do so again entering the cabinet.
You know, the heart of British government.
In the case of The, You know people who invent fictional lives and personas and identities and engagements and all the rest of it.
You know, the young people in that play, all of them are lying through their teeth.
All of them are having these kind of fantasy lives.
And at the end of the play, they're rewarded by all the bits that they want to be true coming true.
There will be no such happy ending for Wilde.
At the height of his professional success, his relationship with Alfred Douglas begins to attract unwanted attention, most troublingly from Bosie's father, the Marquess of Queensbury, an eccentric politician and atheist.
From 1894, Queensbury begins to scheme to end his son's relationship with Wilde.
When Bosie refuses to end their affair, Queensbury cuts him off, then starts frequenting restaurants where the pair are known to dine, hoping to administer a beating to his son's partner.
He even hires a private detective to see what can be dug up about Wilde's private life.
Soon, he is making his displeasure public.
The situation comes to a head in February 1895 when Queensbury plans to disrupt the opening night of the importance of being earnest.
He is prevented from doing so when the manager cancels his ticket.
But, as Wilde will soon discover, he is not a man who is easily thwarted.
It is the 14th of February, 1895, and London is being battered by a heavy snowstorm.
A thick layer of white blankets the streets, and snow continues to fall from the inky sky, fat flakes swirling in the breeze.
Outside the St James' Theatre, an usher holds open a heavy door as a carriage pulls up outside.
The driver hands out a woman wrapped in a thick cloak who quickly hurries up the steps of the establishment, is followed by a man in smart evening dress.
As he reaches the door, he knocks off the snow that has collected on the crown of his top hat, before nodding at the usher and following his companion into the cheery warmth and light of the lobby.
Letting the door fall closed, the usher rubs his hands together to get the feeling back into them.
He looks longingly through the glass pane in the door at his colleagues standing in the warmth of the foyer directing the large crowd of fashionably dressed guests to their seats.
And it is a large crowd.
No one wants to miss the premiere of Mr. Wilde's new play, The Importance of Being Earnest.
From deep within the building the usher hears the sound of a gong being struck, five minutes until curtain up.
He waits a few moments more, then heads inside to warm up.
A muffled round of applause filters through from the auditorium.
You can hear laughter.
The play has begun.
Suddenly, the front door bangs open.
In marches a middle-aged gentleman with thick sideburns and prominent eyebrows.
He is followed by one of the largest men the usher has ever seen.
Clearly, a prizefighter, if his repeatedly broken nose is anything to go by.
And he's carrying what appears to be a bouquet of overripe vegetables.
The usher gently explains that there can be no admittance to the auditorium now that the show has started.
But the smaller guest, loudly announcing himself as the Marquess of Queensbury, is having none of it and demands to be let in.
At the commotion, the manager comes out of his office.
The usher watches the color drain from his boss's face as he quietly tries to remonstrate with the furious aristocrat.
Eventually, Queensbury is persuaded to leave, but not before directing the boxer to slam the pungent vegetables onto a small table in the foyer.
Those, he loudly proclaims to the room, are for the playwright.
With that, he strides off, angrily muttering to himself, shadowed by his giant of an associate.
The usher follows them to the door and watches as they stomp down the steps and disappear into the storm.
Satisfied with leaving his vegetables as an insult for the playwright at the end of the month.
Queensberry significantly ups the ante.
Though his handwriting and spelling are difficult to decipher.
In a card he leaves for Wilde at London's fashionable Albemarle Club, he accuses the writer of being a sodomite.
Bosie immediately urges Wilde to sue his father for libel, but neither of them realize the extent of the evidence that has been collected by the Marquess thanks to the private investigators he has hired.
The trial opens at the Old Bailey on the 3rd of April 1895, in a courtroom packed with barristers, journalists and other onlookers.
From the moment the defense make their opening remarks, it is clear how much trouble Wilde is in.
Queensberry and his investigators have bribed and bullied servants, hotel staff and sex workers into testifying about Wilde's sexual encounters with a number of young working class men.
Wilde hastily drops the case, but it is too late.
So Wilde has to drop that prosecution and at that point doesn't flee the country and sticks around and is arrested and then prosecuted for crimes of quote gross indecency.
And the first trial is actually a hung jury and the establishment decides to prosecute him again.
And then he's found guilty and sentenced to two years of imprisonment with hard labour, which is the highest sentence he could be given for that.
Bosey's aristocratic blood and connections seem to save him, and he is never prosecuted.
But Wilde is sent first to Pentonville, then Wandsworth, and finally Reading Jail.
He gets transferred to Reading, was actually a sort of clemency.
It was because his health was going completely under hard labour.
There's no sleep there.
The food's terrible.
It's really punitive conditions.
And the isolation.
You know it's solitary confinement and they're punished if they speak to each other in the prison yard.
The more sympathetic prison governor at Reading excuses Wilde from hard labour, instead giving him the more genteel tasks of rebinding hymn books and working in the garden.
Several of the guards begin to engage the writer in literary conversations.
Mercifully, he is allowed access to books and paper, and one of the many things he writes is a long letter to Bosie about their relationship and Wilde's punishment for it.
It is never sent, but is later published under the title De Profundis.
Translating from Latin as From the Depths.
Even at Reading.
Wilde experiences a brutal two years during which his health suffers and he loses an alarming amount of weight.
Devastatingly, not only does Jane, his beloved mother, die, but Constance wants a separation.
The alternative would be his wife suing for divorce on the grounds that he has committed sodomy with other men.
A far more serious charge than the acts of gross indecency for which he has been convicted.
It could lead to his re-prosecution.
Faced with this choice, Wilde agrees to the separation and loses any rights to his sons.
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This November on the Noiser Podcast Network.
On Short History Of, we'll step beyond the Leonine Wall and into Vatican City, the smallest sovereign state in the world.
We'll follow the extraordinary life of Irish writer Oscar Wilde and crack befuddling cases with the Pinkerton Detective Agency.
On Real Survival Stories.
We'll find ourselves marooned on a wild, remote fjord in British Columbia, witness a terrifying lightning strike atop a Wyoming mountain and watch on as a fearsome typhoon devastates a Pacific lagoon.
In Jane Austen's stories pride and prejudice continues, with a free-spirited Lizzie attending a dinner party at the grand estate of Lady Catherine and not exactly making a favourable impression.
And in Sherlock Holmes' short stories.
A professor returns from Prague with a mysterious carved box and a strangely changed personality in The Adventure of the Creeping Man.
Get all these shows and more early and ad-free on Noisa Plus.
It is a different man who leaves Reading Jail in May 1897, the night he is released, wild sails for France.
He will never return to England.
So he goes into exile pretty much immediately.
Robbie Ross meets him, other friends meet him, but he's very increasingly lonely.
So he has an allowance from Constance, which is conditional on his not reassociating with Lord Alfred Douglas.
And Wilde is very, very eager to see his sons again.
And that's sort of held out as a, if you behave well, in effect, you could have that.
But he ends up reassociating with Bosie, lives with him in Italy and in France.
And over the next two years, he's quite peripatetic.
He's writing bits and pieces, but he can't write properly and to some extent he's dependent on charity friends.
In the months after his release, Wilde writes The Ballad of Reading Jail, a poem drawing on his prison experience.
It is published not under his name, but his cell number, C.3.3.
After this, apart from a few letters to the papers decrying prison conditions and urging for reforms, Wilde struggles to write.
He spends the last days of his life in Paris, frequently alone.
On the 29th of November 1900, Wilde is received into the Roman Catholic Church.
He dies the next day of meningitis, with Robbie Ross holding his hand as he breathes his last.
Yet even while men like him continue to be criminalized, Oscar Wilde attains the status of a National Literary Treasure.
Robbie Ross, who acts as his literary executor, publishes the authoritative edition of Wilde's works in 1908.
Throughout the 20th century.
His plays are performed to packed theatres and will later be adapted for film and television.
Dorian Gray continues to be read and is adapted for a stage performance as early as 1913.
And his stories for children never go out of print.
Even so, the law under which Oscar Wilde was prosecuted remained in force until 1967.
In that time, this draconian legal apparatus ruined the lives of countless people.
The most famous of these was Alan Turing, the pioneer of technology and codebreaker, whose vital work at Bletchley Park helped crack the German Enigma Code and shorten the Second World War.
After Turing was granted a posthumous royal pardon in 2013, campaigners began pushing for the same treatment for all those convicted of gross indecency.
In 2017, over a century after his trial, Oscar Wilde was one of 50000 men posthumously pardoned for homosexual acts.
But the historical convictions of gay and transgender individuals prosecuted under different statutes still stand.
Today, Wilde's witticisms are ubiquitous, even if their connection to him has been lost.
Whenever you hear anyone say I can resist everything but temptation, find yourself drinking out of a mug proclaiming only dull people are brilliant at breakfast, or see a poster with a slogan to love oneself is the beginning of a lifelong romance, you are witnessing Oscar Wilde's inescapable legacy.
I think all sorts of things that Wilde speaks to, about the freedom of the artist, about self-expression and a sort of individualism that is not a libertarian right-wing individualism, It's a socialist anarchist compassionate humanitarian, creative individualism.
I think there's an idealism there that carries on speaking, that has a beauty to it and a value to it.
I constantly meet students and in every year there will be students for whom Wilde personally means a lot and a way in which he's helped them find themselves.
And as a writer, to be able to do that, you know, over a hundred years later, is incredible he does.
Next time, on short history, i will bring you a short history of the pinkerton detective agency.
There's widespread interest in the competition for the hearts and minds of america between the private eye, who has a certain amount of glamour, and the western bandits of the 19th century era.
The private detective is, of his nature, an ambivalent person.
And that interests us because that's a widespread aspect of human nature and we're all interested in that.
That's next time.
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