In neither case will the casual inspiration of the moment suffice.
Here, as elsewhere, practice must precede perfection.
An ethical sympathy in an artist is an unpardonable mannerism of style.” You could hardly imagine a more flagrant violation of the Dickensian idea what literature was for.
He wrote a super little essay in 1889 called the “Decay of Lying,” and one of his characters, Vivian, talks about how you can’t find a good liar anymore and that it is no easy matter being a good liar.
Wilde, an eager student of Hegel at Oxford, paraphrased the philosopher’s ideas in his Commonplace Book, writing that “Every philosophy must be both idealist and realist: for without realism a philosophy would be void of substance, and matter without idealism would be void of form and truth …
In the rhythm of both the line of dialectic finds its true course of progress.”2 Wilde, always a straddler of two worlds at once, is no different in his aesthetics.
Listen to this: People have a callous way of talking about a born liar just as they talk about a born poet, but in both cases they are wrong. They require the most careful study, the most disinterested devotion.
As one knows the poet by his fine music, so one can recognize the liar by his rich, rhythmic utterance.
You can give some lectures on the afternoons of the evenings that we are going to perform the opera.” He said that was a great idea.
So, he made this early lecture tour in his mid-twenties of the United States.