By A. Kingston

This e-book records how Oscar Wilde was once appropriated as a fictional personality by means of at least thirty-two of his contemporaries, together with such celebrated writers as Joseph Conrad, Arthur Conan Doyle, Henry James, George Bernard Shaw and Bram Stoker.

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The only possible supporting text for Salamensky’s reading is a scene in which Davenant comments on the beauty of a ‘half-grown’ Arabic boy who is acting as a model and assistant to his artist friend Lawrence. However, the context in which Davenant’s brief comment is made hardly supports the suggestion of a pedophilic attraction. When the boy comes looking for Lawrence, Davenant drolly suggests that Lawrence invite him in to alleviate the sparseness of his friend’s recently dismantled home: [Davenant] came in and looked about him disconsolately.

Like Helen Modjeska, at least one of Grosvenor’s guests is bewildered as to the young Hawkshaw’s claim to fame and accepted authority on subjects ‘which have baffled the maturest intellects’. The unaesthetic and plain-speaking Irish MP Woodward thinks him an untalented and impertinent young ‘puppy’. 61 Wilde-like, Hawkshaw easily disarms his detractors with his friendly banter, lavish compliments, and affable compliance with the harshest criticisms. For every detractor, however, Hawkshaw has a gushing disciple to hang upon his every Wildean pronouncement: ‘your [peacock blue] dress .

The author was identified only as A. T. D. 50 The story is set in Oxford where we first see the aesthetic student Henton out walking with his pragmatic friend Montacute, the 26 OSCAR WILDE IN VICTORIAN FICTION narrator. During their stroll, Henton is surprised to see O’Flighty—a play on Wilde’s middle name ‘O’Flahertie’—fraternizing with the ‘ultra-Philistine’ Deakin. 51 Thrown together with O’Flighty and at a loss for conversation, Montacute makes reference to the news of the day: the British invasion of Zululand.

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