the importance of being earnest lit chart

The Importance of Being Earnest

BRIEF BIOGRAPHY OF OSCAR WILDE

Oscar Wilde led a cosmopolitan lifestyle as a writer, playwright,journalist, intellectual, and aesthete. An exceptionally giftedstudent, Wilde studied at Trinity College, Dublin and MagdalenCollege, Oxford, on scholarship. At Oxford, Wilde came underthe influence of tutor Walter Pater’s Aesthetic philosophy—“artfor arts sake”—and developed a reputation as an eccentric,flamboyant, and foppish young man. Moving from Oxford toLondon upon graduation, Wilde then published his first volumeof poems to some critical acclaim. Though a fledgling writer,Wilde’s fame as a proponent of Aestheticism grew during hisyearlong lecture tour of the United States, England, andIreland. Wilde married Dublin heiress Constance Lloyd in1884. In the years following the couple had two sons, whileWilde published his serialized novel The Picture of Dorian Grayand made his way as writer and editor in London’s publishingscene. Wilde met his lover Lord Alfred “Bosie” Douglas, anundergraduate at Oxford, in 1891. Wilde’s career as aplaywright flourished in the coming years as he wrote a numberof successful plays for the Paris and London stages includingLady Windemere’s Fan, Salomé, An Ideal Husband, and finally TheImportance of Being Earnest in 1895. But Wilde’s success wasshort-lived as he became embroiled in scandal. A series of trialsthat pitted Wilde against Lord Alfred’s father, the Marquess ofQueensberry, exposed Wilde’s homosexuality, causing him tobe charged and sentenced for “gross indecency.” After servingtwo years in prison, Wilde retired to the European continent,where he wrote occasionally under an assumed name, brieflyrekindled his romance with Lord Alfred, and converted toCatholicism. Shrouded in infamy, Wilde died of cerebralmeningitis in Paris at the turn of the 20th century.

HISTORICAL CONTEXT

During the initial run of The Importance of Being Earnest, LordAlfred’s father, the Marquess of Queensberry, accused Wildeof being a “somdomite” (sic). Under his lover’s influence, Wildecountered by suing the Marquess for libel. Queensberry wasacquitted, but enough evidence of Wilde’s homosexualitysurfaced during the first trial that Wilde was charged with“gross indecency.” Against the advice of his friends, Wilderemained in London to face the charges. Wilde’s writings,including The Picture of Dorian Gray, were used against him andWilde was sentenced to Wandsworth Prison for two years’hard labor. The scandal did irreparable damage to Wilde’scareer, shutting down The Importance of Being Earnest’sotherwise successful run and causing Wilde to spend hisremaining days living abroad in obscurity. Despite Wilde’s

infamy, his writings became an integral part of the Aestheticmovement, which has informed contemporary conceptions ofart. While the Victorians believed that art should have apositive moral influence, aesthetes like Wilde believed that artcould be valued for its beauty alone. The saying “art for art’ssake” is a lasting mantra that resonates in modern works ofart—in part—because of Wilde’s writings.

RELATED LITERARY WORKS

Lady Windemere’s Fan, A Woman of No Importance, and An IdealHusband are related plays that Wilde wrote during hissuccessful period as a playwright for the London stage,between 1892 and 1895. Showing aspects of comedy anddrama they feature themes and figures similar to those in TheImportance of Being Earnest, including fallen women, children ofuncertain parentage, dark secrets from the past, mistakenidentities, clever wordplay, and skewering critiques of Victorianmorality and social standards.

KEY FACTS

Full Title: The Importance of Being Earnest

When Written: Summer 1894

Where Written: Worthing, England

When Published: First produced as a play on February 14,1895; published in 1899

Literary Period: Aestheticism; Victorian Era

Genre: play; Victorian melodrama; comedy of manners;intellectual farce; satire

Setting: The 1890s in London, England (Act I), and thenHertfordshire, a rural country outside of London (Acts II andIII).

Climax: Gwendolen and Cecily discover that neither Jack, norAlgernon holds the name of “Ernest.”

Antagonist: Lady Bracknell

EXTRA CREDIT

Just dandy: Known for his long hair and the ever-presentflower in his button-hole, Wilde popularized the figure of the“fop,” or “dandy,” a man devoted to his personal appearance,style, and dress.

The play opens as Algernon Moncrief plays the piano in hisfashionable London flat, while his butler Lane prepares a teaservice for Algernon’s Aunt Augusta, (Lady Bracknell), and herdaughter, Gwendolen Fairfax, whom Algernon expects to

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arrive shortly. Surprisingly, Lane announces the arrival ofAlgernon’s friend Mr. Ernest Worthing (Jack).

Algernon greets his friend, who has been in the country. Jackdiscloses to Algernon that he has returned to town to proposeto Gwendolen, whom he has been courting. Upon hearing thisnews Algernon confronts Jack about a woman named Cecily.

Jack initially denies the existence of this woman, but Algernonproduces a cigarette case that he left behind the last time theydined together. The case is engraved with an inscription: “Fromlittle Cecily, with her fondest love to her dear Uncle Jack.”Faced with such evidence Jack comes clean, revealing that hehas been leading a double life. Cecily is actually his ward. “Jack”is the name he goes by in the country, while “Ernest” is his aliasin the city. He shares this name with his fictional brother, amischievous character, whose scandalous lifestyle frequentlycalls Jack back to the city to straighten out his “brother’s”affairs. In reality, Jack uses “Ernest” as an excuse to escape hisresponsibilities in the country and pursue a life of pleasure inthe city.

Jack’s charade confirms Algernon’s suspicion that his friend is apracticed “Bunburyist,” or a person who uses deception to shirkhis duties. Algernon reveals that he is also an expert“Bunburyist,” having coined the term after his fictional, invalidfriend, “Bunbury,” whose poor health frequently calls him to hisso-called friend’s bedside.

Shortly thereafter, Lady Bracknell and Gwendolen arrive atAlgernon’s flat. Algernon distracts Lady Bracknell, while Jackproposes to Gwendolen. She accepts on the account that shehas always been enamored of the name “Ernest;” she makes itclear that she could never marry a man of any other name. Thisalarms Jack, whose composure becomes even more unsettledwhen Lady Bracknell bursts onto the scene, interrupting hisproposal.

When Gwendolen announces her engagement, Lady Bracknellclears the room so that she can question Jack on his livingarrangements, finances, and family relations. Upon learningthat Jack has no parents and was adopted by Mr. ThomasCardew, who found the infant Jack in a handbag left at acoatroom in Victoria station, she forbids Gwendolen frommarrying Jack and leaves the flat in huff. Jack and Gwendolenbid each other adieu, while Algernon, intrigued by Jack’s youngward, makes plans to visit his friend “Bunbury.”

Act II begins at Jack’s country estate in Hertfordshire, whereMiss Prism is failing to focus Cecily’s attention onto herGerman studies. The rector Dr. Chausible arrives and invitesMiss Prism on a walk. While Cecily is alone, Merrimanannounces the arrival of Mr. Ernest Worthing. It is Algernonmasquerading as Jack’s brother “Ernest,” but Cecily believeshim to be the real deal. hortly thereafter, Jack arrives, dressedin mourning clothes, because his brother “Ernest” has just died.

When Jack learns that Algernon is at the estate pretending tobe “Ernest,” he is infuriated, but must keep up appearances sothat his own lies and deceptions will not be revealed.

Meanwhile, Algernon, smitten by Cecily’s beauty and charm,proposes to her. She is not at all surprised because according toher diary they have been engaged for three months. She relatesto him their love story and reveals that she has always dreamedof marrying a man named “Ernest.”

While Algernon rushes off to find Dr. Chausible, Gwendolenarrives to pay Jack an unexpected visit. Cecily invites her intothe garden for tea, where she announces her engagement toErnest Worthing, but Gwendolen counters that she is in factErnest’s fiancée. The ladies fling snide remarks at each otherbefore Jack and Algernon arrive separately, each having goneto see Dr. Chausible about being christened “Ernest.”

The two women realize that Jack and Algernon have deceivedthem. They demand to know the whereabouts of the elusive“Ernest.” Jack reveals that “Ernest’” is not a real person, but afiction, angering Cecily and Gwendolen even more.

In Act III Cecily and Gwendolen confront Jack and Algernonabout their lies. Jack discloses that he assumed the name of“Ernest” so that he could visit Gwendolen often and Algernonadmits that he pretended to be “Ernest” in order to meet Cecily.These explanations satisfy the two women, but they only fullyforgive Jack and Algernon after the two men reveal that theyare to be christened “Ernest” that afternoon.

Lady Bracknell breaks this moment of bliss by arriving to collectGwendolen. Gwendolen reaffirms her engagement to Jack,while Algernon announces his engagement to Cecily. LadyBracknell reiterates her disapproval of Jack and also objects toCecily, until Jack reveals that Cecily is the heiress to a greatfortune.

Interest piqued, Lady Bracknell advocates for Algernon’sengagement, but Jack, as Cecily’s ward, will not consent to thematch until Lady Bracknell approves of his engagement toGwendolen.

Lady Bracknell refuses, but turns her attention to Miss Prism,accusing her of losing her sister’s infant son twenty-eight yearsago. Miss Prism confesses, explaining that she misplaced theboy in a handbag in a coatroom at Victoria station. Jack figuresout that he was that abandoned child and presents the handbagas proof. Jack and ensemble turn to the manor’s library forverification finding an Army List that lists Jack’s father as “Mr.Ernest John Moncrief.” Jack’s real name is indeed Ernest; hehas found a family name in Moncrief, a name and bloodline heshares with his real younger brother Algernon; and he haslearned the “vital importance” of living up to his family name, ashe embraces his betrothed.



JackJack – a.k.a. Ernest / Mr. Ernest Worthing / Uncle Jack / JohnWorthing, J.P. / Ernest John. The protagonist of the play, Jackseems like a respectable young man, but leads a double life as aclever dandy. He goes by “Ernest” in town and “Jack” in thecountry. Meanwhile, he pretends to have a brother also named“Ernest” whose mischief frequently calls him back to town. Theadopted son of Mr. Thomas Cardew, Jack is not only heir to afortune, but also guardian to Cardew’s granddaughter, Cecily.Jack’s engagement to Gwendolen Fairfax is endangered after acomedy of errors leads her to uncover Cecily’s existence andJack’s true identity. The "J.P." initials after his name stand for“Justice of the Peace.”

DrDr. Chasuble. Chasuble – The rector on Jack’s country estate. Algernonand Jack turn to him to be christened, “Ernest.” Dr. Chasuble’slove interest is Miss Prism.

Algernon MoncrieffAlgernon Moncrieff – Jack’s best friend, Gwendolen’s cousin,and Lady Bracknell’s nephew. He is a charming bachelor andextravagant dandy, who specializes in making witty remarksand “Bunburying,” or finding clever ways of getting out of hissocial obligations. He masquerades as Jack’s cousin “Ernest” inorder to meet Cecily Cardew.

Gwendolen FairfaxGwendolen Fairfax – Jack’s betrothed, Algernon’s cousin, andLady Bracknell’s daughter. Cosmopolitan, stylish, andsophisticated, she has opinionated views on matters of taste,morality, and fashion. She is also very vain and pretentious, asdemonstrated by her refusal to marry anyone, but “Ernest.”

Cecily CardewCecily Cardew – Jack’s ward, Mr. Thomas Cardew’sgranddaughter, and Algernon’s love interest. Cecily is a starry-eyed young lady who prefers writing in her diary to studying.She dreams of meeting Jack’s cousin, “Ernest,” and constructsan elaborate, fictional engagement between herself and thiselusive persona.

Lady BrLady Bracknellacknell – Called Aunt Augusta by her nephewAlgernon, she is Gwendolen’s stuffy and judgmental mother.Lady Bracknell’s views are entrenched in Victorian socialmores, so she will not allow Jack to marry Gwendolen until hefinds some suitable “relations.”

Miss PrismMiss Prism – Cecily’s prim and pedantic governess, sheespouses such rigid views on morality that they seem quiteridiculous. Her love interest is Dr. Chausible.

LaneLane – Algernon’s butler.

MerrimanMerriman – Jack’s butler at his country estate, Manor House.

MrMr. Thomas Cardew. Thomas Cardew – The rich man who adopts Jack as a babyand charges him with the guardianship of Cecily. Though henever actually appears as a character in the play, he’sreferenced a few times.

LLord Brord Bracknellacknell – Referenced in passing, he is Lady Bracknell’shusband and Gwendolen’s father.

Mrs. MoncrieffMrs. Moncrieff – Mentioned sparingly, she is Lady Bracknell’ssister and Algernon’s mother. She is also the mother of thebaby boy accidentally abandoned in a handbag in a coatroom atVictoria station, making her Jack’s mother as well.

GenerGeneral Moncriefal Moncrief – Mrs. Moncrieff’s husband, Algernon’sfather, and Lady Bracknell’s brother-in-law. He also turns outto be Jack’s father. Jack is his namesake.

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1 THE ART OF DECEPTION: FACT V. FICTION

As a leader of the Aesthetic movement, Wilde was especiallyinterested in the relationship between life and art, ponderingthe eternal question, “Does art imitate life, or life imitate art?”Wilde explores this relationship in The Importance of BeingEarnest through the conflict that arises when fact collides withfiction. The conflict between fact and fiction is driven byAlgernon and Jack’s lies about their respective identities,specifically the fictional personas they create in order to masktheir doings, shirk their duties, and deceive their loved ones.

Jack invents his brother “Ernest” so that he can excuse himselffrom the country, where he serves as Cecily’s guardian. Undersuch pretense he can escape to town, where he can courtGwendolen and entertain himself with extravagant dinners.Similarly, Algernon invents his invalid friend “Bunbury,” so thathe has an excuse to escape from the city when he does not careto dine with his relations. Fact and fiction collide whenAlgernon arrives at Jack’s country estate, pretending to theelusive “Ernest”. His arrival upsets Jack’s plan to kill off hisfictional brother and nearly derails Jack’s real engagement toGwendolen. That Algernon coins the terms “Bunburying” and“Bunburyist” after his imaginary invalid to describe suchimpersonations highlights the deceptive, as well as the fictivequality of Jack and Algernon’s actions.

But Algernon and Jack are not the only characters that craftcareful fictions. Cecily innocently creates a detailed backstoryto her engagement to “Ernest,” (himself a fictional entity),writing in her diary that she has not only been engaged to herbeau for three months, but that they have been engaged in anon-again-off-again romance. When Cecily recites thisrevelation from her diary to Algernon, he continues this fictionby believing in it as earnestly as Cecily believes in “Ernest’s”authenticity. Algernon’s willingness to participate in Cecily’s

CHARACHARACTERSCTERS

THEMESTHEMES



fictional engagement, so that he might actually becomeengaged to her, parallels Jack’s eagerness to change his nameto “Ernest,” so that reality might more closely align withGwendolen’s matrimonial fantasies. Algernon pretends to be“Ernest” in order to actualize his engagement to Cecily, whileJack will verily transform into “Ernest,” (if only in name), so thatGwendolen’s fantasies may be fulfilled. Ultimately, the play’smain characters participate in the fine art of fabrication not justto deceive, but also to create a reality that is more like fiction.The line between fact and fiction blurs when the fictional nameof “Ernest” turns out to be Jack’s real birth name. In this way,Wilde doesn’t just question whether art imitates life, or lifeimitates art, but suggests that life itself is an artifice, quiteliterally a making of art.

2 THE PURSUIT OF MARRIAGE

The pursuit of marriage is a driving force behind much of theplay’s action. Similar to many Victorian novels of the period, theplay reads as a marriage plot, documenting the errors in socialetiquette and romantic upheavals that come about as Jack andAlgernon stumble towards the altar. Jack pursuesGwendolen’s hand, while Algernon pursues Cecily. BecauseJack and Algernon are willing to go to such outlandish lengthsto appease Gwendolen and Cecily’s fickle desires,engagement—which will ultimately lead to marriage—becomesthe primary goal of the main players.

Each couples’ engagement is fraught with roadblocks, albeittrivial ones. Gwendolen shows hesitance at marrying a man notnamed “Ernest.” Cecily shows that same hesitation whenAlgernon suggests that his name may not actually be “Ernest.”Lady Bracknell objects to Gwendolen and Jack’s engagementon the basis of Jack’s lack of legitimate relations. MeanwhileJack objects to Cecily and Algernon’s engagement to spiteAlgernon for “Bunburying” and Lady Bracknell for disapprovingof his marriage to Gwendolen. The elderly Dr. Chausible putsoff marriage, citing the “Primitive Church’s” emphasis oncelibacy, while Miss Prism embraces her spinsterhood as agoverness. Despite these trivial obstacles, all couples are finallyengaged—Jack to Gwendolen, Cecily to Algernon, Miss Prismto Dr. Chausible.

While engagement appears to be the endgame of TheImportance of Being Earnest, it is actually the fodder uses toentertain the audience. While each couple exhales “at last” withrelief once they are engaged, Wilde uses the delays andstumbles to the altar to entertain his audience. Gwendolen’smelodramatic quote, “This suspense is terrible. I hope it willlast,” speaks to this idea. While the characters are relieved to beengaged “at last,” like Gwendolen, we in the audience hope thatthe suspense “will last” so that we can continue to indulge in thecharacters’ foibles and follies. Unlike the Victorians he depicts,

Wilde is preoccupied with the amusements that arise on theroad to marriage, rather than marriage as an end in of itself.

3 CASH, CLASS, AND CHARACTER

The Victorian society in which Wilde lived was concerned withwealth, family status, and moral character, especially when itcame to marriage. Lady Bracknell’s interrogation of Jack’sproposal to marry Gwendolen demonstrates the three“Cs”—cash, class, and character. First she asks him about hisfinances and then his family relations, a measure of his class.That Jack has none—no family relations, or family name,reflects poorly on his character. Upon finding that Jack has no“relations” she exclaims, “To lose one parent may be regardedas a misfortune…to lose both seems like carelessness,” (as ifwere Jack’s fault for being an orphan.)

In the Victorian world one’s name was the measure of one’ssocial capital, so the fact that Jack doesn’t have any family is aninsurmountable obstacle to his marrying Gwendolen, adaughter of the titled gentry. According to Lady Bracknell’smarriage standards, Jack has the cash, but he doesn’t have theclass, so his character comes into question. (Although of allthree “Cs,” character is probably the least important of LadyBracknell’s criteria, since income and family take precedence inher line of questioning over Jack’s actual intentions for herdaughter, which might more accurately reflect the content ofhis character).

Nonetheless, Lady Bracknell’s scrutiny of Jack’s socioeconomicstatus is reflective of the Victorian world in which she wascreated. Her evaluation of cash, class, and character is one thatWilde interrogates throughout The Importance of Being Earnest,especially through the relations between classes. In Act IAlgernon comments to Lane that the lower classes should set a“good example” of “moral responsibility” for the upper classes,otherwise they are of little “use.” Algernon’s statement is oddprecisely because he seems more concerned with the moralityof his servants than with his own moral compass. Meanwhile hecontinues to lead a deceptive and excessive lifestyle, neverbothering to question the ethical implications of such a life.Algernon’s fixation on the morality of his subordinates actuallyreveals the shortsighted outlook of the aristocratic class. Thisclass scrutinizes the behavior of others so much that it fails toexamine its own flaws and foibles. By pointing attention toAlgernon’s lack of self-examination, Wilde further underminesthe Victorians’ criteria for character by suggesting that it isinherently faulty.

4 NAME AND IDENTITY

Through Jack’s search for his origins and family name, Wildesatirizes the Victorian Era’s intense scrutiny of cash, class, andcharacter. Wilde subversively prods this question through the



name of “Ernest,” a Christian name, or given name, as opposedto a family name. The name of “Ernest” comes to symbolizedifferent things for different people. For Gwendolen andCecily it “inspires absolute confidence” but also symbolizes theideal husband/ lover. For Jack, “Ernest” is an alter ego, anidentity through which he can court Gwendolen and cavort inthe pleasures of city life. The name holds similar meaning toAlgernon, who masquerades as “Ernest” to escape to thecountry to meet Cecily under false pretenses.

While the name of “Ernest” holds different values for eachcharacter, Wilde shows that a name, in of itself, is quitemeaningless in comparison to the person who holds that name.Contrary to the play’s title, in this dramatic world, being“earnest” is not nearly as important as being named “Ernest.”Gwendolen does not accept Jack’s proposal because he isearnestly in love with her, but she believes him to be named“Ernest,” a name she find melodious, aesthetically pleasing, andirresistibly fascinating. Cecily in a similar manner commits toAlgernon not because he is earnest, but because she believeshim to be “Ernest,” a man whom she has fantasized about in herdiary and “girlish dream[s].” Because Gwendolen and Cecily areso enamored of the name “Ernest,” they confuse the sharedname of their lovers with their respective identities. Bothwomen believe that they are engaged to a name rather than aperson. Upon finding out that neither Jack, nor Algernon isnamed “Ernest,” Gwendolen exclaims to Cecily, “neither of us isengaged to be married to anyone.” Through this conflationWilde shows the ridiculousness of marrying someone purelyfor his/her name alone. But in Wilde’s world, it was an all toocommon practice for men and women to capitalize upon anadvantageous family name through marriage. Wilde’s play onthe name of “Ernest” with the quality of being “earnest,” turnsthis Victorian obsession with names and their social meaningon its head.

Ultimately Jack gets the girl because he has the cash, acquiresclass and gains character by taking on the name of “Ernest,”which validates his family ties and social standing. Yet Jack’snew name—“Ernest John Moncrieff”—only has meaningbecause society assigns value to it; his name is verified in theArmy List, a listing of the names of English generals. Wilde isquick to point out that this list is merely a piece of paper, whoseauthority is shoddy in comparison to Jack’s earnestness to findhis true identity. While Jack feverishly combs over volumes touncover his lineage, Wilde refers to “wrong pages,” antiquatedbooks,” and lists of “ghastly names,” suggesting the piece ofpaper that Jack’s new name is printed on is not much betterthan the woman who confuses a man named “Ernest” for a manin “earnest.” Wilde’s subtle jab at the ridiculousness of claimingone’s name from a stack of books points to the relativemeaningless of names in comparison to one’s actions and thecontents of one’s character, thereby undermining theVictorians’ marriage of class and character.

5 HYPOCRISY, FOLLY, AND VICTORIANMORALITY

A witty wordsmith, Wilde exposes the hypocrisy of theVictorians’ strict social mores through puns, paradoxes,epigrams, and inversions in the characters’ actions anddialogue. For instance the characters often say and do theopposite of what they mean, or intend. Gwendolen flips “style”and “sincerity” when she says, “In matters of grave importance,style, not sincerity is the vital thing.” One would expect that“sincerity” should take precedence over “style” in “matters ofgrave importance” so Gwendolen’s inversion of these wordsappears not only funny, but also a tad foolish. Another notableinversion is Lady Bracknell’s quicksilver reversal of herapproval of Algernon and Cecily’s engagement. Lady Bracknelldoes not think much of Cecily until she finds out that she is theheiress to a great fortune, which immediately encourages LadyBracknell to advocate for the match. Ironically, while moneyalone is sufficient for Lady Bracknell to approve of Algernon’sengagement to Cecily, it is not enough for her to approve ofJack’s proposal to her own daughter Gwendolen.

Lady Bracknell exposes her hypocritical nature further whenshe says she disapproves of “mercenary marriages.” Yet hermarriage to Lord Bracknell was motivated primarily bymoney—“When I married Lord Bracknell I had not fortune ofany kind. But I never dreamed of allowing that to stand in myway.” Lady Bracknell’s hypocritical attitude towards marriage isnot just humorous and ironic; it is also a sharp stab at theparadoxical nature of Victorian social mores. Like LadyBracknell, Dr. Chausible’s opinion on marriage reverses quickly.In his proposal to Miss Prism he staunchly holds that the“Primitive Church did not condone marriage” yet by the playsend he seems well on his way to marrying Miss Prism anyways.Through such reversals Wilde points out the hypocrisy andfoolishness of Victorian social standards.

6 MEN AND WOMEN IN LOVE

In the game of love that Wilde plays throughout The Importanceof Being Earnest, Jack and Algernon, who strive for love, arepitted against the fickleness of the women they desire. Eventhough Wilde assigns stereotypical gender roles to eachsex—Jack and Algernon are suave dandies, while Cecily andGwendolen are vapid beauties—when it comes to marriage andlove, he places women in a position of power because they areable to actively choose their mates and influence their partners’behaviors. In the Victorian world women were rarely affordedthis influence, as their male elders—fathers, brothers, uncles,etc.—had tight control over the men with whom theyinteracted, even dated. Yet Gwendolen and Cecily wield a greatdeal of power over their suitors. For instance, Jack andAlgernon strive to christen themselves “Ernest” preciselybecause Gwendolen and Cecily threaten to withhold their



affections from any man who does not hold this name. In doingso, they effectively compel Jack and Algernon to change theirnames.

Even though Gwendolen and Cecily’s engagements arerestricted by a patriarchal system of cash, class, and character,it is important to note that Lady Bracknell, not Lord Bracknell,is the one who becomes master of matrimony, dictating whomay marry whom. The general absence of male patriarchspoints to the diminished presence of men in Wilde’s dramaticworld, thereby highlighting women, like Gwendolen, Cecily, andLady Bracknell in positions of power and prominence.

Symbols appear in red text throughout the Summary & Analysissections of this LitChart.

TOWN AND COUNTRYIn The Importance of Being Earnest one’s residence is a keysignifier of one’s social standing and sophistication. LadyBracknell’s keen interest in Jack’s address exemplifies thisalignment between class, fashion, and residence. She findsJack’s house in town to be “unfashionable,” and his countryestate to be neither a “profit or a pleasure,” but sufficient, as “itgives one position.” Just as Lady Bracknell judges Jack’s classupon the value of his real estate, Gwendolen evaluates Cecily’stastes based upon her upbringing in the country. Gwendolen, afashionable urbanite, makes several oblique remarks aboutcountry girl Cecily’s lack of taste: “I had no idea there wasanything approaching good taste in the more remote countrydistricts…Personally I cannot understand how anybodymanages to exist in the country—if anybody who is anybodydoes.” While Gwendolen views Cecily as a country-bumpkin-nobody for her rural roots, Cecily associates city living withvulgarity and aristocratic snobbishness: “I believe most Londonhouses are extremely vulgar…I believe the aristocracy aresuffering very much.” Through Gwendolen and Cecily’sattitudes about country and city life, Wilde upsets thecharacters’ alignment of the city with sophistication and thecountry with poor taste. Instead, he suggests that town andcountry, alike are paradoxical places—the city is urbane, but it isalso “vulgar;” and while the country lacks taste it also affordsone “position” in society. Wilde also suggests that town andcountry are a means of fantasy and escape. Jack escapes to thecity, under false pretenses, to avoid his obligations to Cecily inthe country, while Algernon similarly escapes to the country toavoid his social obligations to his aunt and cousin.

BUNBURYBunbury is a fictional invalid that Algernon makes up so that hehas a ready excuse whenever he wishes to get out of any socialcommitment, particularly when he would like to escape to thecountry. Algernon describes this pretext as “bunburying,” but healso uses the term to describe Jack’s false representation ofhimself as “Ernest” and his own masquerade as “Ernest.”Bunbury and “bunburying” thus represent deception, fiction,and escapism.

ERNESTSimilar to Bunbury, Ernest represents deception, fiction, andescapism, but also idealism. While Algernon and Jack attemptto masquerade as the real Ernest, he is just as fictional asAlgernon’s Bunbury. Similarly Jack uses the mischievous anticsof his brother Ernest to escape to the city, just as Algernon usesBunbury as an excuse to escape to the country. Even so,Gwendolen and Cecily hold up Ernest as an ideal name, as wellas husband. Both women not only fantasize about marrying aman named Ernest, they say it is a name that “inspires absoluteconfidence.” Their idealism is reflected in these “girlishdream[s]” and definitive assertions.

TEA SERVICEThe Importance of Being Earnest depicts several pivotal scenesthat revolve around tea. While these moments might seemmundane, they are actually carefully crafted scenes in whichthe characters negotiate tricky scenarios. In Act II Cecily andGwendolen thinly veil their antagonism towards each otherduring a tea service, a delicate demonstration of grace andmanners. Gwendolen makes digs at Cecily’s lack of taste byrefusing her offer of sugar and cake on account that suchcuisine is out of date in London. Cecily masks her displeasureunder the pretense of graciousness, offering Gwendolenhealthy helpings of cake and sugar, as a good hostess should.Despite this appearance of composure, each woman’sjealousies are reaching their boiling points. From slicing cake tosipping tea, the tea service is a means by which the charactersnegotiate tense social situations under the pretense of civility.

FOODFood symbolizes excess, or overindulgence. For instance,Algernon cannot stop eating cucumber sandwiches, or muffinswhen they are put in front of him, suggesting that his appetitesare just as excessive as his eccentric, flamboyant, andextravagant airs.

SYMBOLSSYMBOLS



THE DANDYThe dandy, or fop, was a figure popularized by Wilde. In Wilde’sworld, the dandy is a man who pays particular attention to hisappearance, dress, and lifestyle, almost to the point of excess,while using his wit and charm to point out society’s hypocrisyand double standards. Algernon and Jack are examples of thisfigure. When Algernon dresses up as “Ernest” and when Jackdresses up in mourning clothes, these instances show theaffected, flamboyant, and extravagant nature of the dandy. InThe Importance of Being Earnest, the dandy, as represented byAlgernon and Jack, symbolizes self-indulgence, as well as therevelation of truth.

ORPHANS AND WARDSBoth Jack and Cecily are orphans. Jack’s lack of family relationsmakes it difficult for him to marry Gwendolen and settle into atraditional family arrangement. While Cecily’s ancestry isofficially documented in books, she becomes an orphan, orward when her grandfather dies. Her parents aren’t evenmentioned. Cecily’s parental figures, Jack and Miss Prism, atbest, are only mildly attentive to her needs. Jack and Cecily’sstatus as orphans highlight the place of love and imagination inthe creation of family bonds. Both Jack and Cecily inventfictional relationships in order to forge real connections withthe other characters. Jack creates a brother “Ernest” so that hecan more easily court Gwendolen in town, while Cecilyimagines a romance with “Ernest,” which ends up developinginto a real engagement with Algernon. While characters likeLady Bracknell place heavy emphasis on the importance offamily ties in society, Jack and Cecily don't have such socialconnections, instead relying on love and imagination to formrelationships with others.

CHRISTENINGSJack and Algernon each arrange a christening with Dr.Chasuble so that they can change their names to “Ernest.” Theeager willingness of these characters to change their namessymbolize the fluid nature of identity in the play.

JACK’S MOURNING CLOTHESJack’s extravagant mourning attire for a brother who isnonexistent and not even dead represents the extravagance ofthe dandy as well as duplicity.

DIARIESNormally diaries document real life events, but diaries In theImportance of Being Earnest tend to document fictions. Cecilywrites about her fictional engagement to “Ernest” in her diary,showing it to be a conflation of fantasy and fiction, rather than a

record of fact. Gwendolen also travels with a diary, in which sherecords her engagement to “Ernest,” a fictional character,rather than a real man. Because diaries are more like fictions, ornovels they highlight the conflict between fact and fiction thatcourses throughout the play.

CECILY’S LOVE LETTERSCecily writes loves letters between her self and “Ernest.” This isanother example of Cecily’s penchant for inventing stories,thereby serving as another symbol of imagination and fictionmaking.

MISS PRISM’S THREE-VOLUME-NOVELMiss Prism’s three-volume-novel symbolizes the engrossingnature of fiction and the loss of one’s sense of reality. MissPrism mentions to Cecily in Act II that she once wrote a “three-volume-novel.” At the end of the play it is revealed that sheabsentmindedly placed the manuscript of the novel in theinfant Jack’s stroller, while placing the Jack in a handbagforgotten in a coatroom at Victoria station. The manuscript,being a work of fiction, and its inadvertent role in Jack’schildhood disappearance, represents the captivating quality offiction. One may become so engaged in a work of fiction, thatlike Miss Prism he/she, may lose track of reality.

JACK’S HANDBAGThe handbag in which Jack was found as a baby is a symbol forthe comedy of errors. Jack’s inadvertent abandonment in aplace as obscure and ridiculous as a handbag at a train stationdemonstrates the absurd results that arise when silly, as well asserious, mistakes are made.

JACK’S CIGARETTE CASEBecause Jack’s cigarette case reveals his dual identity as“Ernest” in town and “Jack” in the country it represents hisdouble life.

JACK’S BUSINESS CARDIn his cigarette case Jack stores business cards with hispseudonym and address in London printed on them. Algernonlater uses the card to verify his identity to Cecily. The businesscard is thus another sign of duplicity and dual identity.

THE COATROOM AT VICTORIA STATION ANDTHE BRIGHTON LINEThe coatroom at Victoria Station is a symbol for Jack’s lack offamily “relations” and unknown origins. The Brighton Line isWilde’s play on the notion of a family bloodline. Instead of



having a lineage to his name, Jack has a place of origin and atrain line to his credit, underlining the obscurity of his roots aswell as the ridiculous value characters like Lady Bracknell placeon family "lines".

THE ARMY LISTThe Army List is a listing of English army generals. It symbolizesname and identity because Jack uncovers his real name and hisorigins through this source.

The color-coded boxes under each quote below make it easy totrack the themes related to each quote. Each color correspondsto one of the themes explained in the Themes section of thisLitChart.

ACT 1, PART 1Algernon : Good heavens! Is marriage so demoralizing as that?

Lane: I believe it is a very pleasant state, sir. I have had verylittle experience of it myself up to the present. I have only beenmarried once. That was in consequence of a misunderstandingbetween myself and a young person.

•Speak•Speakerer: Algernon Moncrieff, Lane

•Related themes•Related themes: The Pursuit of Marriage , Hypocrisy, Folly,and Victorian Morality

••Theme TTheme Trrackacker codeer code:

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Lane’s views on marriage seem somewhat lax. Really, if thelower orders don’t set us a good example, what on earth is theuse of them? They seem, as a class, to have absolutely no senseof moral responsibility.”

•Speak•Speakerer: Algernon Moncrieff

•Mentioned or related char•Mentioned or related charactersacters: Lane

•Related themes•Related themes: The Pursuit of Marriage , Cash, Class, andCharacter


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Jack: I am in love with Gwendolen. I have come up to townexpressly to propose to her.

Algernon: I thought you had come up for pleasure?...I call thatbusiness.

•Speak•Speakerer: Jack, Algernon Moncrieff

•Mentioned or related char•Mentioned or related charactersacters: Gwendolen Fairfax

•Related themes•Related themes: The Pursuit of Marriage , Men and Women inLove


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I really don’t see anything romantic in proposing. It is veryromantic to be in love. But there is nothing romantic about adefinite proposal. Why, one may be accepted. One usually is, Ibelieve. Then the excitement is all over. The very essence ofromance is uncertainty. If I ever get married, I’ll certainly try toforget the fact.




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Jack: When one is placed in the position of guardian, one has toadopt a very high moral tone…And as a high moral tone canhardly be said to conduce very much to either one’s health orone’s happiness if carried to excess, in order to get up to town Ihave always pretended to have a younger borther of the anemof Ernest…who gets into the most dreadful scrapes. The, mydear Algy, is the whole truth pure and simple.

Algernon: The truth is rarely pure and never simple. Modernlife would be very tedious if it were either, and modernliterature a complete impossibility.

•Speak•Speakerer: Jack, Algernon Moncrieff

•Related themes•Related themes: The Art of Deception: Fact v. Fiction


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I have invented an invaluable permanent invalid called Bunbury,in order that I may be able to go down into the countrywhenever I choose.



QUOQUOTESTES




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ACT 1, PART 1I have introduced you to everyone as Ernest. You answer to thename of Ernest. You look as if your name was Ernest. You arethe most earnest looking person I ever saw in my life. It isperfectly absurd your saying that your name isn't Ernest.


•Mentioned or related char•Mentioned or related charactersacters: Jack

•Related themes•Related themes: Name and Identity


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ACT 1, PART 2Even before I met you I was far from indifferent to you…myideal has always been to love some one of the name of Ernest.There is something in that name that inspires absoluteconfidence.

•Speak•Speakerer: Gwendolen Fairfax


•Related themes•Related themes: Name and Identity , Men and Women in Love


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You can hardly imagine that I and Lord Bracknell would dreamof allowing our only daughter—a girl brought up with theutmost care—to marry into a cloak-room and form an alliancewith a parcel.

•Speak•Speakerer: Lady Bracknell

•Mentioned or related char•Mentioned or related charactersacters: Jack, Gwendolen Fairfax,Lord Bracknell

•Related themes•Related themes: Cash, Class, and Character, Name andIdentity


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ACT 1, PART 2To lose one parent may be regarded as a misfortune…to loseboth seems like carelessness.



•Related themes•Related themes: Cash, Class, and Character, Name andIdentity


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ACT 2, PART 1Your guardian enjoys the best of health, and his gravity ofdemeanour is especially to be commended in one socomparatively young as he is. I know no one who has a highersense of duty and responsibility…Mr. Worthing has manytroubles in his life. Idle merriment and triviality would be out ofplace in his conversation. You must remember his constantanxiety about that unfortunate young man his brother.

•Speak•Speakerer: Miss Prism

•Mentioned or related char•Mentioned or related charactersacters: Jack, Cecily Cardew

•Related themes•Related themes: The Art of Deception: Fact v. Fiction ,Hypocrisy, Folly, and Victorian Morality


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Cecily: I keep a diary in order to enter the wonderful secrets ofmy life. If I didn’t write them down, I should probably forget allabout them.

Miss Prism: Memory, my dear Cecily, is the diary that we allcarry about us.Cecily: Yes, but it usually chronicles the thingsthat have never happened, and couldn’t possibly havehappened. I believe that Memory is responsible for nearly allthe three-volume novels that Mudie sends us.

•Speak•Speakerer: Cecily Cardew, Miss Prism



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The good end happily, and the bad unhappily. That is whatFiction means.




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Were I fortunate enough to be Miss Prism’s pupil, I would hangupon her lips.

•Speak•Speakerer: Dr. Chasuble

•Mentioned or related char•Mentioned or related charactersacters: Miss Prism

•Related themes•Related themes: Men and Women in Love


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Cecily: Miss Prism says that all good looks are a snare.

Algernon: They are a snare that every sensible man would liketo be caught in.

Cecily: Oh! I don’t think I would care to catch a sensible man. Ishouldn’t know what to talk to him about.

•Speak•Speakerer: Algernon Moncrieff, Cecily Cardew



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You are too much alone, dear Dr. Chasuble. You should getmarried. A misanthrope. I can understand—a womanthropenever!


•Mentioned or related char•Mentioned or related charactersacters: Dr. Chasuble



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Miss Prism: And you do not seem to realize, dear Doctor, thatby persistently remaining single, a man converts himself into apermanent public temptation. Men should be more careful; thisvery celibacy leads weaker vessels astray.

Dr. Chausible: But is a man not equally attractive whenmarried?Miss Prism: No married man is ever attractive except to hiswife.

•Speak•Speakerer: Miss Prism, Dr. Chasuble



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[Christening is], I regret to say, one of the Rector's mostconstant duties in this parish. I have often spoken to the poorerclasses on the subject. But they don't seem to know what thriftis.


•Mentioned or related char•Mentioned or related charactersacters: Dr. Chasuble

•Related themes•Related themes: Cash, Class, and Character


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ACT 2, PART1If you are not [wicked], then you have certainly been deceivingus all in a very inexcusable manner. I hope you have not beenleading a double life, pretending to be wicked and being reallygood all the time. That would be hypocrisy.

•Speak•Speakerer: Cecily Cardew

•Mentioned or related char•Mentioned or related charactersacters: Algernon Moncrieff



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ACT 2, PART 2My duty as a gentleman has never interfered with my pleasuresin the smallest degree.




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I think it has been a great success. I’m in love with Cecily, andthat is everything.


•Mentioned or related char•Mentioned or related charactersacters: Cecily Cardew



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ACT, PART 2The home seems to me to be the proper sphere for the man.And certainly once a man begins to neglect his domestic dutieshe becomes painfully effeminate, does he not? And I don't likethat. It makes men so very attractive.




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ACT 3, PART 1Your Christian names are an insuperable barrier. That is all!

•Speak•Speakerer: Gwendolen Fairfax, Cecily Cardew

•Mentioned or related char•Mentioned or related charactersacters: Jack, Algernon Moncrieff

•Related themes•Related themes: Cash, Class, and Character, Name andIdentity , Hypocrisy, Folly, and Victorian Morality


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How absurd to talk of the equality of the sexes! Wherequestions of self-sacrifice are concerned, men are infinitelybeyond us… They have moments of physical courage of whichwe women know absolutely nothing.


•Related themes•Related themes: Hypocrisy, Folly, and Victorian Morality , Menand Women in Love


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Mr. Worthing, is Miss Cardew at all connected with any of thelarger railway stations in London? I merely desire information.Until yesterday I had no idea that there were any families orpersons whose origin was a Terminus.


•Mentioned or related char•Mentioned or related charactersacters: Jack, Cecily Cardew



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Few girls of the present day have any really solid qualities, anyof the qualities that last, and surfaces…There are distinct socialpossibilities in your profile. The two weak points in our age areits want of principle and its want of profile.


•Mentioned or related char•Mentioned or related charactersacters: Cecily Cardew



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Never speak disrespectfully of society, Algernon. Only peoplewho can’t get into it do that.


•Mentioned or related char•Mentioned or related charactersacters: Algernon Moncrieff

•Related themes•Related themes: Cash, Class, and Character, Hypocrisy, Folly,and Victorian Morality


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But I do not approve of mercenary marriages. When I marriedLord Bracknell, I had no fortune of any kind. But I neverdreamed for a moment of allowing that to stand in my way.


•Mentioned or related char•Mentioned or related charactersacters: Lord Bracknell



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To speak frankly, I am not in favour of long engagements. Theygive people the opportunity of finding out each other'scharacter before marriage, which I think is never advisable.




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ACT 3, PART 2Unmarried! 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?Cannot repentance wipe out an act of folly? Why should therebe one law for men and another for women?

•Speak•Speakerer: Jack

•Mentioned or related char•Mentioned or related charactersacters: Miss Prism

•Related themes•Related themes: The Pursuit of Marriage , Hypocrisy, Folly,and Victorian Morality , Men and Women in Love


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My own! But what own are you? What is your Christian name,now that you have become someone else?





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Gwendolen, it is a terrible thing for a man to find out suddenlythat all his life he has been speaking nothing but the truth.


•Mentioned or related char•Mentioned or related charactersacters: Gwendolen Fairfax

•Related themes•Related themes: The Art of Deception: Fact v. Fiction , Nameand Identity


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I’ve now realized for the first time in my life the vitalImportance of Being Earnest.




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The color-coded boxes under "Analysis & Themes" below makeit easy to track the themes throughout the work. Each color

corresponds to one of the themes explained in the Themessection of this LitChart.

ACT 1, PART 1In his fashionable London flat,Algernon plays the piano froman adjoining room offstagewhile his butler Lane sets theparlor on stage for tea. WhileAlgernon absentmindedlymunches on cucumbersandwiches, prepared for AuntAugusta (Lady Bracknell) andcousin Gwendolen’s visit, heremarks on an inaccurateentry in the household books.Wondering why eight bottlesof champagne have beenconsumed, he asks Lane why itis that servants drink so muchchampagne in bachelor’shomes. Lane replies that toptier champagne is rare inmarried households, implyingthat servants drink fine wineinstead when they work formarried couples.

Even though The Importance ofBeing Earnest begins in theapartment of a single man,marriage becomes its primaryconcern quite quickly. Lane’scomment juxtaposes Algernon’slavish bachelor lifestyle,characterized by theoverconsumption of champagneand cucumber sandwiches,against the more conservativelifestyle of a married couple.Though Algernon’s lifestyle isoverindulgent and excessive, likethat of dandy, the prospect ofmarriage and a tamer life loomsin the background.

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This discussion leads Lane andAlgernon to philosophizeabout marriage. Lane remarksthat he has only been marriedonce as a consequence of a“misunderstanding between[himself] and a young person.”Algernon sends Lane away toget some more sandwichesand comments to himself thatLane’s views on marriage arerather “lax,” considering thatthe “lower orders” should set a“good example” for the upperclasses.

Algernon’s shock at Lane’s “lax”marriage views conveys thehypocrisy of his aristocratic class.While Lane’s morality appearsless firm—as he refers tomarriage as a past“misunderstanding” rather than along-termcommitment—Algernon is themore hedonistic character. Heeasily blames his servant for notbeing a “good example” when hehimself is not.

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SUMMARY & ANALSUMMARY & ANALYSISYSIS



Lane announces the arrival ofAlgernon’s friend, Mr. ErnestWorthing (Jack) who has beenaway in the country. Seeing thetea service, Jack asks Algernonwhom he is expecting. Uponlearning that Algernon iswaiting his aunt and cousinGwendolen to arrive, Jackreveals that he has come toLondon to propose toGwendolen, whom he hasbeen courting. Algernoncomments that proposals are amatter of “business,” not“pleasure.”

Algernon’s comment onproposals speaks to the business-like nature of marriage in theVictorian world. Marriage wasnot always simply a matter of theheart, or “pleasure” but aneconomic exchange betweenfamilies who aligned theirwealth, power, and prestigethrough marriage.

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Jack attempts to take one ofthe cucumber sandwiches setout for tea, but Algernoninsists that they are reservedfor Lady Bracknell, and theneats one himself. Algernonoffers Jack some bread andbutter, instead, since heordered them expressly forGwendolen. When Algernonnotices Jack eating rathervoraciously, he remarks that itseems as if Jack were alreadymarried and warns that he maynever be wed. Alarmed, Jackasks what he means. At thispoint Algernon confronts hisfriend about a woman namedCecily.

Algernon and Jack’s voraciousappetites reflect theirextravagant airs and excessivelifestyles as dandies. Algernoncannot allow his friend to eat asingle sandwich; he must eatthem all. Overeating is also anervous habit that Algernonleverages when he has toconfront his friend on acontentious topic—infidelity. Ineffect, Algernon’s denial of foodto his friend is far less impolitethan the accusation he is aboutto make.

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Jack initially denies theexistence of Cecily, butAlgernon instructs Lane tobring out the cigarette casethat Jack left at their lastdinner party. To Jack’sannoyance, Algernon disclosesthat he has read the privateinscription inside the case. Inorder to coax his friend intorevealing the meaning of theinscription, Algernon producesa business card from the casewith the name “Mr. ErnestWorthing” printed on it andinsists that he has only everyknown his friend as “Ernest.”

The appearance of the cigarettecase and business cards showthat Algernon is on to Jack’ssecret, but unwilling to let onthat he knows about his friend’sdouble life. While Algernon’spresentation of the businesscards seem to show his faith inthe veracity of Jake’s fakeidentity, he only feigns this belief,instead hoping that thepresentation of the cigarette casewill compel his friend to tell thetruth.

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Irked, Jack says that Cecily ishis aunt. Algernon goads hisfriend further, graduallybuilding up contradictionsagainst Jack by asking why thecase’s inscription reads: “Fromlittle Cecily with her fondestlove to her Uncle Jack.”Running out of reasonableexcuses, Jack reluctantlyconfesses that his name isactually Jack and that he goesby “Ernest” in town and “Jack”in the country.

The inscription on the cigarettecase not only unravels Jack’ssecret, but also symbolizes hisdouble life. While the businesscards in Jack’s case say that he is“Ernest,” the case itself showsthat he is actually Jack. Just asthe case tells two stories, Jackclaims two identities.

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Jack’s confession confirmsAlgernon’s suspicion that hisfriend is a practiced“Bunburyist.” Algernondemands to know why Jackgoes by one name in town andthe other in the country.

Though the meaning of“Bunburyist,” is not entirely clear,Algernon’s use of the termsuggests that he too might bewell practiced in the art ofdeception.

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Jack confides in Algernon thatMr. Thomas Cardew adoptedhim as a young boy. At the timeof Cardew’s passing, he leftJack his fortune and made himguardian to his granddaughter,Miss Cecily Cardew, who liveson a country estate. Jackexplains that he leads a doublelife because his responsibilitiesto Cecily requires him to set a“high moral tone” when he iswith her in the country. In thecity, Jack can let loose andenjoy himself, so he pretendsto have an unruly youngerbrother named “Ernest,” whoseantics in the city compel him torush off to London frequently.

Jack’s explanation establishesthe symbolic role of town andcountry. Because Jack must set agood example for his ward in thecountry, it represents a place thatis morally strict, prudish, evenrepressive. Because Jack is ableto indulge in the pleasures of citylife, town represents a placewhere the rules are looser andless strict. That Jack’s unrulyalter ego “Ernest” resides in thecity emphasizes the urbanworld’s wildness.

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Algernon reveals that he hasalso invented an invalid friendnamed “Bunbury,” whosemaladies are a ready excusefor Algernon whenever hechooses to go into the country.While Jack finds “Bunbury” tobe an “absurd name,” Algernoncautions his friend againstdoing away with a fictionalfigure, like “Bunbury,” once heis married.

Algernon’s “Bunbury” parallelsJack’s alter ego “Ernest.” Throughthese personas, Jack andAlgernon can escape from theirduties and live out their fantasieselsewhere. Ironically, Jack doesnot recognize that his “Ernest” isjust as “absurd” as Algernon’s“Bunbury.”

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ACT 1, PART 2Lane announces the arrival ofLady Bracknell and MissGwendolen Fairfax.Gwendolen flirts with Jack,while Lady Bracknell gossipswith Algernon about herrecently widowed friend. LadyBracknell asks for one of thecucumber sandwichesAlgernon has promised her.Algernon, realizing that he hasdevoured every singlesandwich, directs blame onLane, asking him why there areno cucumber sandwiches. Lanetakes it in stride reporting thatthere were no cucumbersavailable at the market, evenfor purchase on “ready money,”or credit.

Algernon’s consumption of all thecucumber sandwiches ischaracteristic of his excessivenature, dandyish lifestyle, andselfishness. Lane appears to helpAlgernon save face in front ofLady Bracknell. Yet his commentabout the cucumbers is actuallya subtle dig at Algernon’s relianceon credit, rather than real money.It suggests that Algernon isconstantly living above hismeans and not minding hismanners.

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Lady Bracknell asks Algernonif he will be able to attend herdinner party on Saturday. Hetells her he will not be able toattend on account of“Bunbury.” Lady Bracknellwishes that “Bunbury” wouldjust choose to live or die, butAlgernon distracts his auntfrom sermonizing further byinviting her into the adjoiningroom to review the musicprogram he has put togetherfor her party.

Algernon’s excuse for missingdinner shows his deception inaction. Lady Bracknell’sassessment that “Bunbury” israther wishy-washy is ironic (andfunny) because while life anddeath is not an easy or simplematter of choice, Algernon’sready use of “Bunbury” mostcertainly is.

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Algernon leads Lady Bracknellout of the parlor, allowing Jackand Gwendolen a momentalone. Jack declares his lovefor Gwendolen and sheexpresses her affection forhim, announcing that it is her“ideal” to love someone named“Ernest” because the nameinspires “absolute confidence.”When Worthing suggests thatshe might marry a “Jack,” sheshows disdain and disgustbecause the name produces no“music,” “thrill,” or “vibrations.”“Ernest” is the only “safe”name. Jack, realizingGwendolen’s earnest belief in“Ernest,” shows visiblediscomfort, but proposesanyway at his beloved’s urging.

Gwendolen is more in love withan idealized version ofJack—“Ernest.” While Gwendolenexpresses affection towards Jack,her fascination with “Ernest”stems from her aesthetic tastesin music. Gwendolen alsoconfuses the “safety,” security,and “confidence” that marriagecould provide her with herfiancé’s name. By projectingthese ideal qualities onto"Ernest", she actually creates herown illusion of love andmarriage.

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As Jack is down on one knee,proposing to Gwendolen, LadyBracknell bursts on to thescene, appalled by thecompromising position inwhich she has found Jack andher daughter. ThoughGwendolen assertivelyannounces her engagement toJack, Lady Bracknellimmediately showsdisapproval of the match,declaring that she and LordBracknell will arrange theirdaughter’s engagement.Infuriated, Lady Bracknellushers Gwendolen out of theroom to their awaiting carriageand begins to interrogate herdaughter’s suitor.

By showing her over-the-topoutrage, Lady Bracknellestablishes herself as the masterof matrimony. Though shementions that she and LordBracknell will decideGwendolen’s engagement, hisinfluence is minor in comparisonto her tight grip on her daughter’smarriage plans. Lady Bracknell’scontrol and direction of the sceneemphasize the powerful role shewill play in the game of love.

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Alone, Lady Bracknell asksJack a series of questionsrelating to his wealth,residences, and familyrelations. Jack replies that heis bachelor of twenty-nine witha sizable income, a fashionableLondon townhouse in BelgraveSquare, and property in thecountry, all of which appearsto appease Lady Bracknell,until he is unable to name hisfamily relations. Instead ofdescribing his parents, Jackreveals to Lady Bracknell thathe is an orphan. He was foundtucked in a handbag in a cloakroam at the Victoria railwaystation on the Brighton line.Lady Bracknell finds thislineage to be an unacceptablepedigree—“the line isimmaterial”—and forbids Jackfrom contacting her daughter,until he finds some respectablerelations.

Lady Bracknell’s interrogation ofJack demonstrates the three“C”s: cash, class, and character.Endowed with riches, afashionable address, and land,Jack appears like a suitablecandidate, but his lack of properfamily relations is an obstacle toLady Bracknell’s consent. Wilde’sreference to a train “line,” insteadof a family line emphasizes the(in Wilde's opinion, ridiculous)premium Lady Bracknell placeson family ties. While Jack has a“line” to his credit, it is“immaterial” to Lady Bracknellprecisely because it is not anexact lineage.

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Lady Bracknell leaves in a huffand Algernon enters theparlor to ask Jack whathappened. Jack explains thatwhile Gwendolen accepted hisproposal, her mother, actinglike a monstrous “Gorgon,”refused on account that he hasno family relations. AsAlgernon comforts his friendfor having no relations, Jackdecides to kill off his fictionalbrother “Ernest,” deciding thathe will “die” in Paris of a“severe chill.”

Because Jack has no family heenvisions one. He regards hisprospective mother-in-law as amythical beast, or “Gorgon.”Meanwhile he entertainsthoughts of killing off “Ernest.”Jack’s creation and destructionof family ties in his imaginationreflects his struggle to create areal family with Gwendolen.

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The conversation transitionsas Algernon plies Jack forinformation about Cecily.Unaware that his descriptionsof Cecily are encouragingAlgernon’s interest in her, Jackreveals that she is a young andbeautiful girl of eighteenholding an intense fascinationwith Jack’s brother, “Ernest.”

Jack’s pretty portrait of Cecilyinvites Algernon to imagine anideal love interest. Algernon’scuriosity in a woman he hasnever met mirrors Cecily’s soon-to-be-revealed obsession withJack's made-up brother “Ernest,”a man that she has never met,and suggests that love takes rootin the imagination rather thanreal life.

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Gwendolen reenters and asksto speak with Jack privately.Algernon turns around buteavesdrops, anyway. She tellsJack that though theirmarriage may never berealized, on account of hermother’s disapproval, that shewill always be devoted to him.So that she can write to him,Gwendolen asks Jack for hisaddress in the country, whichAlgernon slyly writes down onhis shirt cuff.

Gwendolen makes a bold moveby returning to the flat to declareher love to Jack. Her initiativeshows that despite her mother’sdisapproval she is still an activeagent in her and Jack’s love story.Yet her steadfastness will later beshown to be to a man namedErnest, not to Jack himself.

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Jack sees Gwendolen out toher carriage and Algernoninforms Lane that he will begoing out “Bunburying”tomorrow. Jack returns andAlgernon comments that he is“anxious” about his friend“Bunbury.” Jack cautions that ifAlgernon doesn’t “take care”“Bunbury” might get him intoserious trouble.

In directing Algernon to “takecare,” Jack shows hisfundamental misunderstandingof deception. While lying requirescareful attention to detail, it isactually a careless act. It is ironicthat Jack takes such a high moraltone, when he has beenpretending to be somebody he isnot, all along.

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ACT 2, PART 1At the Manor House, Jack’scountry estate, Miss Prismstruggles to focus Cecily’sattention on her studies. Prismreminds Cecily that Mr.Worthing has placedparticular emphasis on herGerman, but Cecily commentsthat Uncle Jack is so “serious”and “bored” when he is withthem. Prism remarks that Mr.Worthing is an upstandingman whose “unfortunate”younger brother “Ernest”causes many “troubles in hislife.” Cecily wishes that“Ernest” would visit them,suggesting that they might bea “good influence” on him. MissPrism believes that there’s nopoint in trying to make a badperson good.

Miss Prism and Cecily’s exchangedemonstrates differing views onmorality. Miss Prism has a rigidperspective of human nature,insisting that people are eithergood or bad and cannot change.Unlike Cecily, she does notconsider that a person mightchange through good influences,or works. Miss Prism’s greatexpectations of others, like Jack,make her a mouthpiece forVictorian social mores, even ifher moral standards areimpossibly high.

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Cecily begins writing in herdiary, “things that neverhappened and couldn’tpossibly happen,” but MissPrism directs her to put itaway, suggesting that Cecilyshould rely on her memory,instead. Cecily defends writingin her diary, pointing out thatmemory is responsible forsentimental three-volumenovels. Slighted by thiscomment, Miss Prism revealsthat she was the author of athree-volume-novel that wasnever published because themanuscript was lost.

Cecily precociously, yetinsightfully, points out the blurryboundaries between fact andfiction. She points out thatmemory is not always factualand has the ability to be just asfictitious as a novel. A "three-volume novel" (usuallysentimental novels popular inVictorian England, will becomeimportant later in the play.

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The local reverend Dr.Chasuble arrives and Cecilysuggests that he take MissPrism on a walk to relieve hergovernesses’ “headache.”Cecily is clearly aware thatthere is an attraction betweenher governess and the vicar,who says that he would “hangupon [Miss Prism’s] lips.” MissPrism scolds Cecily gently forfibbing and admonishes theminister, but goes off on a walkwith Dr. Chausible anyways.

Dr. Chasuble’s line “hang uponher lips” speaks to the devotionalstate of love that the play’s malefigures fall into. While Chasublehangs upon Prism’s every word,the quote is a reminder thatwomen’s words are influential,even if their position in society isnot always strong.

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When Cecily is alone in thegarden, Merriman announcesthe arrival of Mr. ErnestWorthing and presents hisbusiness card. It is the samecard that Jack stored in hiscigarette case. The visitor isactually Algernon,masquerading as Jack’sfictional brother “Ernest.”

Algernon uses the tools of Jack’sdeception—the business cardand cigarette case—to assume“Ernest’s” identity. Algernonmakes "real" this fictionalpersona, showing the fluidborders between between factand fiction.

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Algernon, dressedextravagantly like a dandy,greets his “little cousin” Cecily,who is excited to finally meether “wicked cousin Ernest.” Shetells Algernon that Jack willnot be back until Mondaybecause he is buying travelingclothes for “Ernest” to takewith him to Australia. Thisnews surprises anddisappoints Algernon, whosuggests that Cecily “reform”him instead. As Algernon flirtswith Cecily, she invites himinto the house to eat.

While Gwendolen idolizes“Ernest” because he is “ideal,”Cecily fantasizes about “Ernest”because he is “wicked.” ThatAlgernon asks Cecily to “reform”him signals that their attractionis based on a fascination withbehavior that bends the rules ofconventional morality. That theyinteract without chaperones onlyfurther pushes past theboundaries of Victorian socialcustoms.

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Miss Prism and Dr. Chasubletalk of marriage as they returnfrom their walk. Prismsuggests that Chasuble shouldmarry because an unmarriedman is a either a temptation, ora “womanthrope” (misogynist),but the vicar asserts that thePrimitive Church doctrine hefollows restricts marriage onthe clergy.

Though Dr. Chasuble appears tohave strict religious views onmarriage, Miss Prism’s wordshave a powerful effect on him, ashis beliefs crumble by the play’send, cementing Miss Prism’sinfluence over him.

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Jack enters slowly dressed inmourning clothes, surprisingMiss Prism and Dr. Chasuble.Jack tells them that his brother“Ernest” has just died abroadin Paris of a “severe chill.”While Dr. Chasuble offers hiscondolences and begins tosermonize, Miss Prism makes amoralistic pronouncement: “Asa man sows so let him reap.”Remembering he has tochange his name forGwendolen, Jack proceeds toask Chasuble if he is availableto christen him at 5:30 thatday. Yet Cecily emerges fromthe house and tells Jack thathis brother “Ernest” is here atthe estate and has been tellingher a great deal about hisfriend “Bunbury.”

Though Miss Prism’s biblicalquote is directed at “Ernest’s”death, it speaks to Jack’ssituation, as the harvest of hislying ways comes to fruition inthe form of a real “Ernest.” Jack’simpending encounter withAlgernon, impersonating “Ernest,”demonstrates the collisionbetween fact and fiction. Jack,pretending to mourn his fictionalbrother, must confront a real-life“Ernest,” distorting the truth evenmore and blurring the contoursof his double identity.

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ACT 2, PART 2Jack greets Algernon coldly,furious that Algernon hasshowed up at his countryestate, masquerading as“Ernest” and shocked that hehas been talking to Cecilyabout “Bunbury.” At Cecily’sprompting, Jack begrudginglyshakes Algernon’s hand. MissPrism, Dr. Chasuble and Cecilyleave the brothers alone totalk things out.

Jack and Algernon must pretendto reconcile and switch identitiesin order to preserve their alteregos. Though Jack resists thistransition, the relative ease withwhich Algernon becomes“Ernest” marks the fluid nature ofname and identity in the play.

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Outraged, Jack tells Algernonthat he has to leave. Algernoninsists that that he is stayingfor week, but Jack asserts that“Ernest” has been called backto town and instructsMerriman to order a dog-cartto take “his brother” back tothe train station. Algernonrefuses to leave until Jackchanges out of his mourningclothes, saying that he isabsurdly over-dressed.

Jack’s attempt to send Algernon/“Ernest” back to townrepresents his endeavor to keepnot only fact and fiction apart,but also his lives in town andcountry separate. BecauseAlgernon/“Ernest” are associatedwith his city life, Jack tries toexpel them from the country.

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Jack goes to change andCecily comes out to thegarden. Before departing,Algernon declares his love forher. But Cecily insists that theyhave already been engaged forthree months. Taking out herdiary, she relates theirelaborate romance, completewith a ring, a brokenengagement, and love letters.

While diaries tend to record fact,Cecily’s diary is an instrument offiction making. Her diary showsCecily’s powerful ability to alignfact with fiction, as she andAlgernon fall in love through hermade-up love story between herand the fictional "Ernest" (whoshe thinks is real).

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With their engagementconfirmed, Cecily confessesthat she has always dreamedof marrying a man named“Ernest” because it inspires“absolute confidence.” WhenAlgernon asks if she could lovea man with his own name, sheimmediately declares herdislike for it. This revelationunsettles Algernon, whorushes to see Dr. Chasubleabout getting christened.

Even though Cecily is initiallyattracted to “Ernest” for hiswicked nature, her declaration oflove mirrors Gwendolen’s. LikeGwendolen, Cecily holds up“Ernest” as an ideal. Her echo of“confidence” redoubles the ironyunderscoring her andGwendolen’s love affairs,because Algernon and Jack arenot trustworthy insofar as theyare not Ernest. Though it is worthnoting that their love is real; theirlove is in earnest.

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Meanwhile, Merrimanannounces Gwendolen’sunexpected arrival at themanor house to Cecily. Thetwo women, unaware of eachother’s connections to Jack orAlgernon, greet each other inthe garden. Gwendolenassumes that Cecily is a visitorto the house, but showsconcern when she learns thatCecily is actually Mr. ErnestWorthing’s young andbeautiful ward. Cecily correctsher, informing Gwendolen thatJack Worthing is her guardian.“Ernest” is actually Jack’sbrother and her fiancé.Shocked, Gwendolen assertsthat she is in fact, “Ernest’s”fiancée, reading an entry fromher diary as proof.

Jack and Algernon’s carefullycrafted cover stories and fakeidentities unravel, as Cecily andGwendolen believe themselves tobe engaged to the same man.Mistaken identities motivatetheir emerging jealousies. Lastly,because diaries read more likefictions in the play, Gwendolen’sdiary does not appear as anauthoritative source, but a paltrypiece of evidence.

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Believing that they are bothengaged to “Ernest,” Cecilyand Gwendolen’s jealousiesplay out over the course of atea service. Gwendolenrefuses Cecily’s offer of sugarand cake, while making snideremarks about Cecily’stasteless country upbringing.Cecily responds, dumpinghealthy doses of both intoGwendolen’s cup and onto herplate, while making commentsabout the city’s “vulgar”nature.

Gwendolen and Cecily’s foodfight not only pivots on romanticjealousies, but also exposes classbiases. Gwendolen, being asophisticated urbanite, findsCecily’s country manners to beuncouth, while Cecily findsGwendolen’s snobbishness to beevidence of the city’s vulgarity.

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As tensions come to a head,Jack and Algernon arrive, oneafter the other, havingseparately made appointmentswith Dr. Chasuble to bechristened later that day.Gwendolen confronts Jack,asking if he is engaged toCecily. He firmly denies this.Yet Cecily takes great pleasurein pointing out thatGwendolen’s betrothed is not“Ernest,” but her guardianUncle Jack. Cecily goes toAlgernon’s side and declaresthat he is “Ernest.” Gwendolentakes even greater pleasure inpointing out that Cecily’sfiancé is not “Ernest,” but hercousin Algernon.

Gwendolen and Cecily each playa part in dismantling the fantasyof “Ernest.” By revealing Jack andAlgernon’s true identities to eachother they essentially destroy thefigure with which they are soenamored. While it is gratifyingfor Cecily and Gwendolen toexpose Jack and Algernon, theirmean-spirited revelationsshowcase an empty truth, whereno “Ernest,” or earnest man existsat all.

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Realizing that they have bothbeen fooled, Gwendolen andCecily embrace each other anddemand to know thewhereabouts of Jack’s brotherand their fiancé, “Ernest.” Jackconfesses that he does nothave a brother at all. Cecilyand Gwendolen, distraught atno longer being engaged to“Ernest,” retreat into thehouse.

Cecily and Gwendolen’s distressat no longer being engaged to“Ernest” shows that they haveconfused the name they adorewith the men whom they admire.They loved the name, not themen. In this way Wilde mocksthe Victorian aspect of marriageas a uniting of "names"—wealthand reputation being moreimportant than a possible lover'sactual traits.

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Realizing that they have ruinedtheir chances of gettingmarried, Algernon and Jackargue about their failed“Bunburying” schemes, whichprohibit them from furtherexcursions in town or country.They also debate about whowill ultimately take the name of“Ernest” at their upcomingchristenings with Dr.Chasuble. Jack asserts that heshould take the name becausethere is no proof that he hasever been christened.Attempting to manipulate hisfriend, so that he can take thename for himself, Algernoninsists that such a namechange could be dangerous.Meanwhile, the two mensquabble over muffins andteacake, until the curtaindrops.

Jack and Algernon do notbemoan the loss of their fiancées,but the loss of a good alibi forBunburying—“Ernest.” Without“Ernest” their double lives in thecountry and city can no longerlive on. Even as the fictional“Ernest” disappears, Jack andAlgernon still fight over who willactually assume his name in reallife, showing their willingness tomake real this character toplease their partners. Theirquarrel over muffins parallelsCecily and Gwendolen’s fightunder the pretense of a civil teaservice.

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ACT 3, PART 1From the Manor House’sdrawing room Cecily andGwendolen watch the twomen argue from a window; thewomen eagerly await the mento enter. Gwendolen intendsto give Jack and Algernon thesilent treatment, but when thetwo men enter from thegarden, Cecily demands toknow why Algernon pretendedto be Jack’s brother, “Ernest.”Algernon replies that hemasqueraded as “Ernest” sothat he could meet her. Cecilyfinds this answer satisfactory.Gwendolen then asks Jack ifhe pretended to have abrother so that he could visither in London often, to whichJack responds affirmatively.Gwendolen finds hisexplanation acceptable andboth women appear on theverge of forgiving their suitors.

Though Jack and Algernon assertthat they assumed “Ernest’s”identity so that they couldpursue romances withGwendolen and Cecily, all theiractions building up to this pointalso suggest that they createdalternative personas in order toescape to the places that wouldoffer the most enjoyment andleast responsibility. WhileGwendolen and Cecily may findtheir lovers’ explanationssatisfactory, Wilde hasconditioned his audience to beskeptical of Jack and Algernon’sseemingly selfless statements.

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But even though Algernon andJack tell Cecily andGwendolen exactly what theywant to hear, both ladies insistthat Algernon and Jack’sChristians names are“insuperable barrier[s]” totheir respective unions. Jackand Algernon counter bysaying that they are to bechristened that afternoon.

The characters’ intensecommitment to the name of“Ernest,” highlights theirwillingness to bring fantasy andfiction into accord andemphasizes Gwendolen andCecily’s continued influence overtheir lovers’ actions.

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Embracing their suitors,Gwendolen and Cecily praiseJack and Algernon for their“physical courage” and “self-sacrifice” when Lady Bracknellunexpectedly arrives. Havingbribed Gwendolen’s maid intodisclosing her whereabouts,Lady Bracknell has followedGwendolen from town toprevent her from seeing Jackand is appalled to see thecouple together.

Wilde uses the words “physicalcourage” and “self-sacrifice” topoint out Jack and Algernon’sself-serving nature. Changingtheir names will pleaseGwendolen and Cecily’saesthetic sensibilities, but willprobably not change Jack andAlgernon’s selfish and duplicitousways.

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Distracted by Algernon’spresence on the scene, LadyBracknell asks him if this is theresidence of his friend“Bunbury.” Forgetting that hehad told his aunt that he wouldbe at his ailing friend’s bedside,Algernon says no and thentries to quickly cover his fauxpas by announcing “Bunbury’s”death. Lady Bracknell isrelieved that “Bunbury” hasfinally made up his mind to die.

“Bunbury’s” sudden demise atAlgernon’s hands parallels Jack’sattempts to do away with“Ernest,” as well as reinforces thecapricious quality of Algernon’sexploits with “Bunbury.” Just asAlgernon could call up Bunbury’sillnesses in an instant, he can killhim off in seconds, too.

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Seeing Cecily holding handswith Algernon piques LadyBracknell’s interest. Jackexplains that Cecily is his ward,and Algernon announces heras his fiancée. Lady Bracknellimmediately inquires intoCecily’ background, snidelyasking whether she is“connected with any of thelarger railways stations inLondon.”

Lady Bracknell’s reduction offamily ties to railways linesrecalls her derogatory attitudetowards Jack’s background andhighlights the clash between thearistocratic class that sherepresents and the moneyedmerchant class that Jack andCecily exemplify.

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Jack obligingly offersinformation about Cecily,conveying to Lady Bracknellthat her relations arerespectably recorded, herthree residences are wellregarded, and that she is theheiress to a great fortune.Even though Lady Bracknellsuspects that Cecily’s relationsare dubiously recorded, thenews of her wealth enticesLady Bracknell to stay at Jack’smanor, instead of rushing offwith Gwendolen back toLondon. After learning thatCecily stands to inherit evenmore money when she comesof age and pleased with the“social possibilities in herprofile,” Lady Bracknellproposes that the weddingshould take place as soon aspossible, even though she isagainst “mercenary marriages,”like her own to Lord Bracknell.

Paralleling Lady Bracknell’sinquiry into Jack’s background,Jack breaks down Cecily’s profileinto cash, class, and character.While Cecily’s relations are notquite aristocratic, Cecily’s networth more than makes up forthis lack of noble blood lines.Lady Bracknell’s quicksilverchange of opinion about Cecilydisplays her hypocritical andmoney-grubbing nature. Thoughopposed to “mercenarymarriages,” Lady Bracknellreveals that she is in fact theproduct of one and is more thanready to work Algernon into anadvantageous and wealthymatch, as well.

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Jack, realizing that he can usehis position as Cecily’sguardian to persuade LadyBracknell into permitting hismarriage to Gwendolen,refuses to consent to Cecilyand Algernon’s engagement.He explains to Lady Bracknellthat he cannot approve of thematch because he suspectsAlgernon of being “untruthful,”listing the crimes his friend hasperpetrated whilemasquerading as “Ernest.” Jackwill not consent to Cecily’smarriage, until Lady Bracknellconsents to Gwendolen’s.

Jack challenges Lady Bracknell’sauthority as master ofmatrimony by questioningAlgernon’s character. In contrastto Lady Bracknell’s evaluation offamily background, Jack baseshis assessment of Algernon onhis behavior, which is selfish anddeceitful. Refusing his consent onthe grounds that Algernon isdishonest, Jack turns the tableson Lady Bracknell and herworldviews.

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Refusing to give her consent,Lady Bracknell is about toleave with Gwendolen whenDr. Chasuble arrives, preparedto christen Jack and Algernon.Jack explains that theceremony is no longernecessary and Dr. Chasublesays that he will return to thevestry, where Miss Prism iswaiting.

Though Jack stands up to LadyBracknell, she maintains controlover Gwendolen’smarriageability. That Jack andAlgernon give up their scheme toget christened shows their defeatto Lady Bracknell.

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ACT 3, PART 2Upon hearing Miss Prism’sname, Lady Bracknellimmediately inquires abouther, insisting that she be sentfor. At the same moment, MissPrism enters, sees LadyBracknell, and begins to showa great deal of anxiety and fear.In a sharp tone, Lady Bracknelldemands to know thewhereabouts of a baby boyMiss Prism lost 28 years ago.

Lady Bracknell puts the usuallyimpervious Miss Prism ill at ease,suggesting that she is not asperfect as she seems. LadyBracknell’s damning accusationthreatens to destroy Miss Prism’spristine reputation, overturningAlgernon’s presumption that theservant classes should be pillarsof moral uprightness.

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Lady Bracknell proceeds torelay the details of the child’sdisappearance. Departingfrom Grosvenor Square, MissPrism took the baby boy out ina stroller, but never returnedwith the child. The pram wasfound three weeks later inBayswater containing no traceof the baby, but a three-volume-novel. Overwhelmedby incriminating evidence,Miss Prism confesses that shedoes not know what happenedto the baby. She explains thatshe left the house that daywith the baby in the strollerand the manuscript for herthree-volume-novel in ahandbag. She conjectures thatin a moment ofabsentmindedness she put themanuscript in the stroller andthe baby in the handbag.

Miss Prism’s carefully craftedappearance of moral perfectionis actually a lie. While makingmoralistic pronouncements onothers, she has been hiding adark and embarrassing secretthat undermines her self-righteous façade. Miss Prism’spast reveals her hypocrisy as wellas her folly. As a writer with herhead in the clouds she makes thesilly, yet grave error of mistakinga manuscript for a baby, showingthat she is just as susceptible tothe lure of fantasy as her pupilCecily.

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Upon hearing this detail, Jackfeverishly asks Miss Prismabout where she left thehandbag. Whimpering, sheadmits to having left it in acoatroom at Victoria stationon the Brighton line. Excited,Jack rushes out of the roomand returns onstage with thehandbag, asking Miss Prism isshe can identify it as thehandbag she misplaced. Shelooks it over carefully andconfirms that it is hers,delighted that it is back in herpossession. Having piecedtogether the mysteriousdisappearance of the baby boy,Jack declares that he is the lostboy who was abandoned inMiss Prism’s handbag andembraces her as his mother.

Through this story, Wilde unitesMiss Prism’s absentmindednessas a fiction writer with thebackstory behind Jack’s fictionallife. While the handbag andcoatroom have come torepresent blanks in Jack’spersonal history, they are nowfilled with a colorful story,created because of Miss Prism’sfocus on fiction rather than theduties at hand. Wilde underlinesthe absurd nature of reality byhighlighting Miss Prism’s delightat retrieving her handbag overfinally finding the child she lost.

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Miss Prism recoils, remindingJack that she is unmarried.Jack misconstrues her point,launching into a speech aboutforgiveness and redemptionthat criticizes society’s doublestandards for men and women.But Miss Prism suggests thatJack should look to LadyBracknell for the truth abouthis identity.

With Jack’s speech, Wilde makesa pointed statement about theunequal treatment of men andwomen. Jack seems progressivein forgiving a “fallen woman” (i.e.one who he thinks gave birthwithout being married), whilethinking his own duplicitousactions require no forgiving at all.

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Without fanfare, LadyBracknell explains that Jack isthe son of her poor dead sister,Mrs. Moncrief, which alsomakes him Algernon’s olderbrother, but also LadyBracknell’s nephew, andGwendolen’s first cousin.Jack’s newfound familyrelations overturns LadyBracknell’s prohibition againsthis marriage to Gwendolen.Jack joyfully announces thathe does indeed have a brother!

Jack’s discovery of his family linebreaks down one barrier againsthis marrying Gwendolen. (Cousinmarriage was acceptable inVictorian England). By gaining amother and brother, he gains therelations he was lacking before,making Jack’s visions of family areality.

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But the mystery of Jack’s truename remains, as his presentname remains an “irrevocable”obstacle to Gwendolen’sconsent. Lady Bracknellbelieves that Jack, as the firstborn son, is likely named afterhis father, General Moncrief,but she, nor Algernon canremember his full name. Jackrushes to his bookshelves,which house volumes of ArmyLists from the last forty years.Jack feverishly flips throughthe books’ long lists of “ghastlynames”, until he finds GeneralMoncrieff’s first name: “ErnestJohn.”

Wilde makes fun of the unionbetween class and character bymaking Jack’s marriageabilitycontingent upon his name, aswell as family background. Jack’srelations satisfy Lady Bracknell’scriteria, but they are not enoughfor Gwendolen, who wants himto be “Ernest.” That Jack has toprove his “Ernestness”/earnestness by verifying hisname from a list of “ghastlynames” is absurd, and highlightsthe general absurdity of theimportance of names and familylines in Victorian decisions aboutlove and marriage.

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Jack realizes that he has beentelling the truth the entiretime: his name is in fact Ernest,but also John, and he doeshave a troublesome youngerbrother, Algernon. Jack turnsto Gwendolen and asks if shewill forgive him for telling thetruth. She does, declaring him“my own!” Each couple—Jackand Gwendolen, Miss Prismand Dr. Chasuble, and Cecilyand Algernon—embrace “atlast,” while Jack declares toLady Bracknell that he haslearned the “vital Importanceof Being Earnest.”

The marriage chase concludeswhen Gwendolen asserts herhold on Jack by claiming him asher “own.” Meanwhile, theverification of Jack’s lies withconcrete proof of their legitimacymakes his fictional life a bonafidereality. By pretending to be“Ernest,” Jack’s art of deceptionhas actually become “earnest,” ora sincere depiction of his real lifeas it is. His life is art; his art is life.

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HOW THOW TO CITEO CITEIt's easy to cite LitCharts for use in academic papersand reports.

MLA CITMLA CITAATIONTIONBen Florman and Justin Kestler, LitCharts Editors."LitChart on The Importance of Being Earnest."LitCharts.com. 25 Mar 2016.

CHICACHICAGO MANUGO MANUAL CITAL CITAATIONTIONBen Florman and Justin Kestler, LitCharts Editors."LitChart on The Importance of Being Earnest."LitCharts.com. 2016. http://www.litcharts.com/lit/the-importance-of-being-earnest.

APAPA CITA CITAATIONTIONBen Florman and Justin Kestler, LitCharts Editors2016. LitChart on The Importance of Being Earnest.Retrieved March 25, 2016 fromhttp://www.litcharts.com/lit/the-importance-of-being-earnest.



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