Identity is fluid. An Ideal Husband by Oscar Wilde (first performed in 1895), affirms this concept. The work affirms the idea that we, as human beings, sculpt our identity through conscious decision. In doing so, Wilde questions the idea of ​​rigidity of identity – that human beings are born with certain characteristics, that these are static and create our character. Wilde also questions Victorian notions of gender identity. It eradicates traditional concepts surrounding masculinity and denigrates the development of the "new woman" during the late 19th century. It deconstructs idealized Victorian notions of wife and husband, proposing a new imperfect identity for both. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Wilde, challenging Victorian notions of latent identity, describes identity as mutable; shaped by human decision. This is evident when examining the characterization of Lord Goring, the dandified bachelor in An Ideal Husband. He is said to be 'intelligent', 'but would not like to be thought of as such', as well as 'an impeccable dandy, would be annoyed if he were thought of as romantic'. These directives show him to be actively aware of how others perceive him, implying that he attempts to shape this perception. Lord Goring repeatedly downplays his intelligence, telling Gertrude Chiltern that he "knows nothing of practical life" and telling Sir Robert he "doesn't care what I say". However, it is then described as "showing the philosopher underlying the dandy". Through his characterization, it is evident that Lord Goring actively shapes his identity, however false. The issue of the fixed identity of an ideal husband is further emphasized by the character of Mrs. Cheveley, the villain of the play, as the shaper of her own identity. Although she "rather resembles an orchid" and is "extremely graceful in all her movements", Wilde makes it clear that this is a facade she has chosen to present. She refers to “being natural” as “a really hard pose to hold.” Being “natural” is also a pose, showing the active creation of an identity. In the third act, Mrs. Cheveley's true nature is revealed, when "her mask has fallen off" and "for the moment she is terrible to look at". Ms. Cheveley is described in the direction as "a work of art, on the whole, but showing the influence of too many schools", denoting the idea that an "artist" - the person himself - has created his own identity. This idea is summarized in Lady Markby's statement that "Indeed, as a rule, everyone turns out to be someone else." Identity is therefore represented as fluid, and interrogated as immutable, by An Ideal Husband. Wilde redefines established gender identities, primarily through the contrast of the characters Lord Goring and Sir Robert Chiltern. Chiltern is initially cast in masculine terms with a "firmly chiseled mouth and chin" and "dark hair and eyes" – the stereotypical description of the "hero". However, he is then repeatedly depicted "in a state of great mental excitement and anguish" while uttering melodramatic statements such as "Oh, love me always, Gertrude, love me always!" peppered with exclamations and repetitions. This emotionality has typically been a female bastion. Lord Goring, on the other hand, is described in feminine terms, wearing "all the delicate affectations of fashion". However his dialogue is more "masculine": concise and witty, undercutting Sir Robert's histrionics. For example, at the beginning of the second act, Sir Robert's long lines alternate with Lord Goring's short statements such as "Personally I havea great admiration for stupidity." It's a kind of feeling of solidarity, I suppose." This juxtaposition inverts gender expectations, redefining male identity. Furthermore, the positive portrayal of Lord Goring in the play represents the "dandy" as a valid male identity.The aesthetics of the fringeThe movement, of which Wilde was a key member, was often satirized by the mainstream press, so Wilde questions expectations of Victorian gender identity.The public is fond of Lord Goring through his comic dialogue, for example Lord Goring's insistence in the third act that his buttonhole is "too plain" and that it makes him look "a little too old", combined with the "yes, yes, " by the butler Phipps. My lord's response is very funny. He also states while 'looking at himself in the mirror': “My father tells me that I have flaws too. Maybe I do. I don't know." For the audience watching the show, this image is extremely funny. Lord Goring is the origin of many paradoxical statements, such as the famous "I love to talk about nothing, father". It's the only thing I know anything about.' Therefore, through the use of comedy, Wilde captivates us as an audience with the character of Lord Goring. Wilde's humor makes "dandy" as a more palatable identity for a Victorian audience, thus challenging men's traditional and powerful "hero" identity. While Wilde is progressive in this sense, he is conservative in his questioning of the identity of the “New Woman.” , brought to the fore through the character of Lady Chiltern. Lady Chiltern ventures into the public sphere, dealing with the Liberal Women's Association and issues such as "Factory Laws, the Parliamentary Voting Rights" and advocating "the higher education of women". However, Wilde debunks this flourishing identity of Victorian women. At the end of the show. Lady Chiltern in the dialogue disturbingly (for a modern audience) parrots Lord Goring's statement that "a man's life is more valuable than a woman's", stating that "the way women help the world" is forgiving their men. The curtain closes on the image of Lady Gertrude "leaning back in the chair" in which her husband, Sir Robert, is seated – an image which could be interpreted as Lady Chiltern's relegation to the role of supporter of her husband. This implies that Lady Chiltern will no longer attempt to influence her husband in the public sphere due to the chaos this has caused, ending on a resoundingly conservative note lamenting growing political influence and the "new woman" identity. Some may point to Mrs. Cheveley, the villainess of the play, as evidence of Wilde's encouragement of a strong female identity. Initially, Mrs. Cheveley is characterized as independent: she manipulates the male characters when she "drops her fan" and Sir Robert is required to pick it up for her. She is depicted as powerful as seen in her stance in the first act where she is "leaning back on the sofa" with languid arrogance, as well as in her militaristic dialogue where she refers to the "war" she is winning against her "enemy", Sir Robert in the "Game of Politics" However, Mrs. Cheveley is ultimately punished by Wilde, following her attempts to exert agency in the "man's world" of politics. After her manipulations fail, she is silenced for the entire fourth act, implying her exile from polite society and highlighting Wilde's questioning of the "new woman" identity of women engaged in political life. Please note: this is just a sample. Get a custom paper from our expert writers now. Get a custom essay The Victorian era era,.