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=The Importance of Being Earnest=

From Wikipedia, the free encyclopedia
Jump to: [|navigation], [|search]For other uses, see [|The Importance of Being Earnest (disambiguation)].The original production of **The Importance of Being Earnest** in 1895 with [|Allan Aynesworth] as Algernon (left) and [|George Alexander] as Jack (right) //**The Importance of Being Earnest**// is a play by [|Oscar Wilde], a [|comedy of manners] on the seriousness of society in either three or four acts (depending on edition) inspired by [|W. S. Gilbert]'s //[|Engaged]//.[|[1]] It was first performed for the public on [|February 14], [|1895] at the [|St. James's Theatre] in [|London]. Set in [|England] during the late [|Victorian era], its primary source of humour is based on characters maintaining fictitious identities to allow them to escape from social obligations. Wilde's plays had reached a pinnacle of success, and anything new from the playwright was eagerly awaited. The press were always hungry for details and would pursue stories about new plots and characters with a vengeance. To combat this Wilde gave the play a working title, //[|Lady Lancing]//. The use of seaside town names for leading characters, or the locations of their inception, can be recognised in all four of Wilde's society plays (Jack's surname, [|Worthing], is itself taken from the town where Wilde was staying when he wrote the play). 

Plot
Algernon, a young Londoner, pretends to have a friend named Bunbury who lives in the country and is frequently in ill health. Whenever Algernon wants to avoid an unwelcome social obligation, or just get away for the weekend, he makes an ostensible visit to his "sick friend". In this way he can feign responsibility, while having the perfect excuse to avoid it. He calls this practice "[|Bunburying]". Algernon's real-life best friend lives in the country but makes frequent visits to London. Algernon knows him as Ernest Worthing, but when he leaves his silver cigarette case in Algernon's rooms, Algernon finds an inscription in it: "From little Cecily, with her fondest love to her dear Uncle Jack". This forces Jack to disclose that he too is a "Bunburyist". In the country, he goes by the name of Jack (which he understands to be his real name), and pretends that he has a wastrel brother named Ernest, who lives in London and requires his frequent attention. When in the city, he assumes the name – and behaviour – of the profligate Ernest. In the country Jack assumes a more serious attitude for the benefit of his young [|ward], the 18-year old heiress Cecily. Jack wants to marry Algernon's cousin Gwendolen, but faces two obstacles: First, Gwendolen seems to love him only because she believes his name is Ernest, which she thinks is the most beautiful name in the world. Second, Gwendolen's mother, the terrifying Lady Bracknell, does not particularly approve of Mr Worthing, and is further horrified to learn that he was adopted as a baby after being discovered in a handbag at a railway station. In her opinion it is absolutely below the standards of her daughter to "marry into a cloakroom and form an alliance with a parcel". Meanwhile, Jack's description of Cecily has so appealed to Algernon that he resolves to meet her, in spite of Jack's firm opposition. He visits Jack's house in the country in the guise of Ernest Worthing. Cecily has for some time imagined herself in love with the mysterious Ernest, and is soon swept off her feet by Algernon. Jack has decided to give up his Bunburying, and returns to his country estate with the news that his brother Ernest has died. He is forced to abandon this claim by the presence of "Ernest", who threatens to expose his double life if Jack doesn't play along. Gwendolen flees London and her mother to be with her love. When she and Cecily meet for the first time, each indignantly insists that //she// is the one engaged to "Ernest". Once Lady Bracknell arrives in pursuit of her daughter, she and Jack reach stalemate as she still refuses to countenance his marriage to Gwendolen, while he, in retaliation, denies his consent to the marriage of her penniless nephew Algernon to his heiress ward Cecily. The impasse is broken, in [|deus ex machina] fashion, by the reappearance of Miss Prism. As she and Lady Bracknell recognize each other with horror, it is revealed that, when working many years previously as a nursemaid for Lady Bracknell's sister, Prism had inadvertently lost a baby boy in a handbag. When Jack produces the identical handbag, it becomes clear that he is Lady Bracknell's nephew and Algernon's older brother. With Jack's provenance established, only one thing now stands in the way of the young couples' happiness: in view of Gwendolen's continued insistence that she can only love a man named Ernest, what is Jack's real first name? Lady Bracknell informs him that he was named after his father, a general, but cannot remember the general's name. Jack looks eagerly in a military reference book and declares that the name is in fact Ernest after all, and he has all along been telling the truth inadvertently. As the happy couples embrace in turn (including also Prism and Chasuble), Lady Bracknell complains to Ernest, "My nephew, you seem to be displaying signs of triviality." "On the contrary, Aunt Augusta," Ernest replies, "I've now realised for the first time in my life the vital Importance of Being Earnest." 

Characters

 * John ("Jack") Worthing: In love with Gwendolen. Bachelor. Adopted when very young by Thomas Cardew.
 * Algernon ("Algy") Moncrieff: First cousin of Gwendolen. Bachelor. Nephew of Lady Bracknell.
 * Lady (Augusta) Bracknell.
 * Hon. Gwendolen Fairfax: daughter of Lady Bracknell.
 * Cecily Cardew: granddaughter of Thomas Cardew and ward of Jack Worthing. Lives at Jack's country house in Hertfordshire.
 * Miss Prism: governess to Cecily.
 * Rev Canon Frederick Chasuble, [|D.D.]: a minister who lives near Jack’s country house.
 * Lane: butler to Algernon.
 * Merriman: butler to Jack.

Translations
The comedy has been successful even when performed in translation. The title being translatable only to a few languages—it relies on "Ernest" and "earnest" being [|homophones] in English—it is then usually staged under the title //Bunbury//. In some languages, the title loses its character as a pun. In [|Norwegian] it is staged as //Hvem er Ernest?//, which means "Who is Ernest?" In [|Spanish]-speaking countries, the title is translated as //La importancia de llamarse Ernesto// (The Importance of Calling Yourself Ernest). Several languages—German, Dutch, French, Hungarian, Czech—offer equivalent puns. In Germany the play and the 2002 movie are called //Ernst sein ist alles// ("Being Earnest is everything"), keeping precisely the original pun (//Ernst// being both a first name and a German word for serious). In Dutch it has been translated as //Het belang van Ernst//, in which the pun is also fully functional. In French, the play is known as //De l'importance d'être Constant//, //Constant// being both a mildly uncommon first name and the quality of steadfastness; the pun is preserved but with a slightly different meaning. The Italian //L'importanza di essere Ernesto//, or //L'importanza di essere Franco// ("The Importance of Being Frank"), similarly preserves punning with a slight twist. In Catalan it is also, as in Italian, "La importància de ser Franc" ("The Importance of Being Frank"). The same approach has been used in Hungarian: the title has been translated as //Szilárdnak kell lenni// ("One Must Be Steadfast"), //Szilárd// being also an uncommon first name meaning "steadfast". Similarly, in Basque it has been titled //Fidel izan beharraz// ("On the need to be Fidel"), //fidel// being both the Basque word for "faithful" and a first name. In Czech, the title is translated as //Jak je důležité míti Filipa// ("The Importance of Having Phillip"), which is an idiom for being clever, and //Filip// is a quite common name. In [|Polish], however, the title is 'Brat Marnotrawny'(The Prodigal Brother), an allegory to The Prodigal Son (in Polish- Syn Marnotrawny). [|Hebrew] owns it as 'Hashivuta shel retsinut' (The importance of seriousness). 

Four-act version
When Wilde handed his final draft of the play over to theatrical impresario George Alexander it was complete in four acts. The actor manager of the St. James' Theatre soon began a reworking of the play. Whether to provide space for a 'warmer' or a musical interlude, as was often the bill, is not entirely clear. However, Wilde agreed to the cuts and various elements of the second and third acts were combined. The "missing" extra act, coming between the current second and third, was heavily cut. The greatest impact was the loss of the character Mr Gribsby, a solicitor, who turns up from London to arrest the profligate "Ernest" (Jack) for his unpaid dining bills. Algernon - who is going by the name "Ernest" at this point - is about to be led away to Holloway Jail unless he settles his accounts immediately. The four-act version was first played on the radio in a BBC production and is still sometimes performed. The 2002 film includes the Gribsby scene from the missing act. 

Rare Book Find
On [|19] [|October], [|2007], a rare first edition of the play was discovered in a branch of [|Oxfam] in [|Nantwich], [|Cheshire] appropriately in a handbag. Staff at the shop said they had no idea who donated the items. The book has a mark on the inside cover stating that it was numbered 349 out of 1,000 copies and was sold for £650.[|[1]] 

Possible inside jokes
Some have implied that Wilde's use of the name //Ernest// might possibly be an inside joke. [|John Gambril Nicholson] in his poem //"Of Boy's Names"// (//Love in Earnest: Sonnets, Ballades, and Lyrics// (1892)) contains the lines: " Though Frank may ring like silver bell, And Cecil softer music claim, They cannot work the miracle, –'Tis Ernest sets my heart a-flame." The poem was promoted by [|John Addington Symonds] and Nicholson and Wilde contributed pieces to the same issue of //[|The Chameleon]// magazine.[|[2]]. Theo Aronson has suggested that the word "earnest" became a code-word for homosexual, as in: "Is he earnest?", in the same way that "Is he so?" and "Is he musical?" were also employed. [|[3]] The words //bunbury// and //bunburying//, meanwhile, which are used to imply double lives and as excuses for absences are, according to a letter from [|Aleister Crowley] to Sir [|R. H. Bruce Lockhart], an inside joke conjunction that came about after Wilde boarded a train at Banbury on which he met a schoolboy. They got into conversation and subsequently arranged to meet again at Sunbury. [|[4]] Contrary to claims of explicit homosexual terminology, the actor Sir [|Donald Sinden], who had met two of the play's original participants in the 1940s: [|Irene Vanbrugh], the first Gwendolen; [|Allan Aynesworth], the first Algy; as well as Wilde's lover Lord [|Alfred Douglas], wrote to //The Times// to dispute that the words 'Earnest' or 'bunburying' held any sexual connotations, or that 'Cecily' was a synonym for a [|rentboy]: "Although they had ample opportunity, at no time did any of them even hint that Earnest was a synonym for homosexual, or that Bunburying may have implied homosexual sex. The first time I heard it mentioned was in the 1980s and I immediately consulted Sir [|John Gielgud] whose own performance of Jack Worthing in the same play was legendary and whose knowledge of theatrical lore was encyclopaedic. He replied in his ringing tones: "No-No! Nonsense, absolute nonsense: I would have known."[|[5]] The latter remark gains additional salience from the fact that Gielgud himself was well-known in theatrical circles to be gay. All of this said, the fact that Jack and Algernon both lead "double lives" would undoubtedly have held special meaning for a married homosexual in Victorian London, like Wilde himself. 

Related facts

 * [|John Gielgud] was considered to be the greatest Jack Worthing of the twentieth century, and his 1947 [|Broadway] production won the only [|Tony Award] ever given for Best Foreign Production.
 * Lady Bracknell's line, "A handbag?", has been claimed to be the single quotation in English drama that has given rise to the most varied [|interpretations], ranging from incredulous through scandalized to just plain baffled. There is scarcely an actress who has not tried to put her own personal stamp on it, but the most famous is that of [|Edith Evans] in the 1952 film //[|The Importance of Being Earnest]//, who delivered the line loudly in a mixture of horror, incredulity and condescension.
 * [|The Marquess of Queensberry], father of Wilde's male lover Lord [|Alfred Douglas], attempted to enter the theatre on the play's opening night to publicly expose Oscar Wilde's homosexuality, but Wilde was tipped in advance and Queensberry was refused a ticket. Due to Wilde's personal troubles, however, the play was closed after only 83 performances, despite its success.
 * The name 'Miss Prism' is a pun on '[|misprision]', which has two definitions. [//[|citation needed]//] The older is very dark, involving the concealment of official neglect, crime or possibly treason. The more modern meaning closely resembles the character's multiple misunderstandings.
 * At the time the play was written [|Victoria Station] in London was actually two adjacent terminal stations sharing the same name. To the east was the terminal of the decidedly ramshackle [|London, Chatham and Dover Railway] and to the west, the much more fashionable [|London, Brighton and South Coast Railway]—the Brighton Line. Although the two stations shared a dividing wall, there was no interconnection: it was necessary to walk out into the street to pass from one station to the other. Jack explains that he was found in a handbag in the cloakroom at Victoria Station and tries to mitigate the circumstance by assuring Lady Bracknell that it was the more socially acceptable "Brighton line."
 * [|Tom Stoppard]'s 1974 comedy play //[|Travesties]//, set in Zurich during the First World War, takes as the starting point for its fictional embellishments a troubled production of //The Importance of Being Earnest//, that was historically undertaken by an amateur company whose business manager was the writer [|James Joyce].
 * The famous [|Spanish] singer, [|Enrique Bunbury], named himself after Algernon's imaginary friend Bunbury.
 * The names of Cecily and Gwendolyn Pigeon in Neil Simon's comedy //[|The Odd Couple]// were inspired by the Cecily and Gwendolen of Wilde's play.
 * In one of his final television appearances, comedian [|Jim Varney] appeared on "[|Viva Variety]" in a sketch that parodied Wilde's play. In this case, the "Ernest" in question was Varney's signature character, [|Ernest P. Worrell].

Film versions

 * //[|The Importance of Being Earnest (1952 film)]// was directed by [|Anthony Asquith] and stars [|Michael Denison] (Algernon), [|Michael Redgrave] (Jack), Dame [|Edith Evans] (Lady Bracknell), Dame [|Dorothy Tutin] (Cecily), [|Joan Greenwood] (Gwendolen), and [|Margaret Rutherford] (Miss Prism).
 * //[|The Importance of Being Earnest (1992 film)]// was directed by [|Kurt Baker].
 * //[|The Importance of Being Earnest (2002 film)]// stars [|Colin Firth] (Jack), [|Rupert Everett] (Algy), Dame [|Judi Dench] (Lady Bracknell), [|Reese Witherspoon] (Cecily), [|Frances O'Connor] (Gwendolen), [|Anna Massey] (Miss Prism), and [|Tom Wilkinson] (Dr. Chasuble) and was directed by [|Oliver Parker].

Adaptations

 * In [|1963], [|Erik Chisholm] completed his opera based on the play with Wilde's text as the libretto.
 * A musical based on the play called //[|Ernest in Love]// opened off-Broadway in 1960 to glowing reviews. It starred John Irving as Jack and [|Louis Edmonds] as Algernon.[|[6]] The show was later revived and translated into Japanese in 2005 for the [|Takarazuka Revue] in Japan.