Themes are the fundamental and often universal ideas explored in a literary work.
The Nature of Marriage
Marriage is of paramount importance in The Importance of Being Earnest, both as a primary force motivating the plot and as a subject for philosophical speculation and debate. The question of the nature of marriage appears for the first time in the opening dialogue between Algernon and his butler, Lane, and from this point on the subject never disappears for very long. Algernon and Jack discuss the nature of marriage when they dispute briefly about whether a marriage proposal is a matter of “business” or “pleasure,” and Lady Bracknell touches on the issue when she states, “An engagement should come on a young girl as a surprise, pleasant or unpleasant, as the case may be.” Even Lady Bracknell’s list of bachelors and the prepared interview to which she subjects Jack are based on a set of assumptions about the nature and purpose of marriage. In general, these assumptions reflect the conventional preoccupations of Victorian respectability—social position, income, and character.
The play is actually an ongoing debate about the nature of marriage and whether it is “pleasant or unpleasant.” Lane remarks casually that he believes it to be “a very pleasant state,” before admitting that his own marriage, now presumably ended, was the result of “a misunderstanding between myself and a young person.” Algernon regards Lane’s views on marriage as “somewhat lax.” His own views are relentlessly cynical until he meets and falls in love with Cecily. Jack, by contrast, speaks in the voice of the true romantic. He tells Algernon, however, that the truth “isn’t quite the sort of thing one tells to a nice, sweet, refined girl.” At the end of the play, Jack apologizes to Gwendolen when he realizes he had been telling the truth all his life. She forgives him, she says, on the grounds that she thinks he’s sure to change, which suggests Gwendolen’s own rather cynical view of the nature of men and marriage.
The Constraints of Morality
Morality and the constraints it imposes on society is a favorite topic of conversation in The Importance of Being Earnest. Algernon thinks the servant class has a responsibility to set a moral standard for the upper classes. Jack thinks reading a private cigarette case is “ungentlemanly.” “More than half of modern culture depends on what one shouldn’t read,” Algernon points out. These restrictions and assumptions suggest a strict code of morals that exists in Victorian society, but Wilde isn’t concerned with questions of what is and isn’t moral. Instead, he makes fun of the whole Victorian idea of morality as a rigid body of rules about what people should and shouldn’t do. The very title of the play is a double-edged comment on the phenomenon. The play’s central plot—the man who both is and isn’t Ernest/earnest—presents a moral paradox. Earnestness, which refers to both the quality of being serious and the quality of being sincere, is the play’s primary object of satire. Characters such as Jack, Gwendolen, Miss Prism, and Dr. Chasuble, who put a premium on sobriety and honesty, are either hypocrites or else have the rug pulled out from under them. What Wilde wants us to see as truly moral is really the opposite of earnestness: irreverence.
Hypocrisy vs. Inventiveness
Algernon and Jack may create similar deceptions, but they are not morally equivalent characters. When Jack fabricates his brother Ernest’s death, he imposes that fantasy on his loved ones, and though we are aware of the deception, they, of course, are not. He rounds out the deception with costumes and props, and he does his best to convince the family he’s in mourning. He is acting hypocritically. In contrast, Algernon and Cecily make up elaborate stories that don’t really assault the truth in any serious way or try to alter anyone else’s perception of reality. In a sense, Algernon and Cecily are characters after Wilde’s own heart, since in a way they invent life for themselves as though life is a work of art. In some ways, Algernon, not Jack, is the play’s real hero. Not only is Algernon like Wilde in his dandified, exquisite wit, tastes, and priorities, but he also resembles Wilde to the extent that his fictions and inventions resemble those of an artist.
The Importance of Not Being “Earnest”
Earnestness, which implies seriousness or sincerity, is the great enemy of morality in The Importance of Being Earnest. Earnestness can take many forms, including boringness, solemnity, pomposity, complacency, smugness, self-righteousness, and sense of duty, all of which Wilde saw as hallmarks of the Victorian character. When characters in the play use the word serious, they tend to mean “trivial,” and vice versa. For example, Algernon thinks it “shallow” for people not to be “serious” about meals, and Gwendolen believes, “In matters of grave importance, style, not sincerity is the vital thing.”
For Wilde, the word earnest comprised two different but related ideas: the notion of false truth and the notion of false morality, or moralism. The moralism of Victorian society—its smugness and pomposity—impels Algernon and Jack to invent fictitious alter egos so as to be able to escape the strictures of propriety and decency. However, what one member of society considers decent or indecent doesn’t always reflect what decency really is. One of the play’s paradoxes is the impossibility of actually being either earnest (meaning “serious” or “sincere”) or moral while claiming to be so. The characters who embrace triviality and wickedness are the ones who may have the greatest chance of attaining seriousness and virtue.
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