Few literary figures have maintained such a splendid reputation as Oscar Wilde. His illustrious work continues to be the subject of much debate to this day. Although famous for his plays and his only novel The Picture of Dorian Gray, Wilde wrote an influential collection of fairy tales that he deemed suitable for "childish persons between the ages of eighteen and eighty." This disclaimer was probably formulated to avoid being accused of indecent themes for children's literature. Scholars have long focused on the homosexual allusions found in these tales, which have repeatedly overshadowed their astute social commentary. The Happy Prince and Other Tales is a collection of short stories published in 1888. Christian influences suggest that it was partially inspired by Hans Christian Andersen. Unlike Andersen's penchant for the transcendent powers of suffering, the endings of Wilde's tales often ring hollow. The selfish giant dies, the happy prince gave all he had, and the nightingale sacrifices his life in vain. There is no “Happily Ever After”. Although it may seem strange that he wrote such important works while devoutly believing in “art for art's sake,” Wilde was never the epitome of consistency. He went so far as to admit that “consistency was the last refuge of people without imagination.” The myriad Christian socialist references foreshadow his future Marxist-influenced work. In “The Soul of Man Under Socialism,” written years later, Wilde presents an argument for an ideal society in which socialism and Christianity are intertwined. Wilde bases this premise on the distinctly singular perspective of an artist, in a context in which socialism has already reached its peak: individualism. Self-actualization and socialism are rarely considered compatible, because one seems inherently selfish and the other fundamentally altruistic. Perhaps this is the author's way of forcing society to accept him as radically different and refuse to settle for him. Wilde attempts to reconcile these antagonistic notions in The Happy Prince and Other Tales. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay Reading the tales, it becomes clear that Wilde is disturbed by the rigidity of social expectations. They reflect the problems he sees in the Victorian era. The use of the Fairy Tale form allows him certain liberties to express his contempt for social conventions, authoritarian institutions and charity. The first story in the collection is the most famous tale entitled “The Happy Prince”. The religious symbolism and socialist messages are vivid. The ornate statue of the Happy Prince, a once oblivious monarch living above his city and never having a care in the world, is confronted with the harsh living conditions of his subjects. A swallow lands near him and notices that the statue is shedding tears because he realized that he had not known of the misery that afflicted his people during his lifetime. He begs the swallow to do him favors, each of which requires that an ornament be taken from him to give to a poor family. The swallow reluctantly agrees to help the Happy Prince and makes his wishes come true. Their love for each other grows as the story progresses and the swallow stays with the statue throughout the winter. Eventually, the Happy Prince statue turns ashen and the swallow freezes to death, causing the statue's lead heart to rupture. This echoes theselfless death of Christ. The next day, the mayor and councilors pass by the statue and are taken aback by its dull appearance. They melt the statue to make a new one bearing the image of the mayor. While the council decides what to do, an angel brings the heart of lead and the lifeless bird to heaven. Recognizing their selfless sacrifice, God grants them access to His garden for eternity. As poetic as the tale's ending is, Wilde makes some insightful points. The Happy Prince, as philanthropic as he may have been in death, was blissfully unaware of life's difficulties and attempts to remedy them by giving away precious stones until he has nothing left to give. When it is no longer considered beautiful, it is no longer considered useful and is melted down to create another embellished statue, suggesting a vicious cycle. It may have helped these families survive the winter, but social change is not happening. The swallow dies fulfilling the Happy Prince's selfish attempts to atone for his past neglect. It can be argued that the couple has salvation and eternal life to spend together, but it seems difficult to separate the happiness of a few when the villagers are likely to continue living in worsened circumstances. Wilde views charity as a selfish act, as it only helps the benefactor sleep better at night. I don't believe Wilde is condemning the idea of ​​compassion, but rather the blind emphasis of material on continually degrading systemic problems. “The Selfish Giant” is another story rich in Christian and anti-capitalist symbolism. In Fairy Tales and the Art of Subversion, Jack Zipes divides the tale into three stages. The first is the Giant, a metaphorical landowner evicting children from his garden. He returns home after seven years away and is furious to see children entering his beautiful garden without permission. He scares them away. His actions cause the seasons to stop in the middle of winter on his property. His ungenerous character is punished because he cannot enjoy his barren garden. Spring, the symbol of a new beginning, cannot arrive. The second stage is the realization that his selfishness is causing the unhappiness of a little child and he understands why spring would not come. Wilde emphasizes the beauty that children bring to the garden. They are innocent, devoid of social constraints and therefore intrinsically inclined towards self-realization. This is evident when the only child not to run away is the one blinded by tears. He cannot see the Giant and is therefore an incorrupt judge. The final stage concerns the phenomenal changes that the Giant and the Garden go through as he shares his property. The Giant finds his happiness when he opens his Garden to the neighborhood children. This ensures the prosperity of the garden and becomes like Eden, a garden free from impurities. The little child reappears injured and bleeding several years later. He is the incarnation of Christ and came to take the Giant to Heaven. Wilde uses this love and compassion as the fundamental basis of true socialism. It is not uncommon for many to interpret the kiss between the Christ figure and the giant as the representation of a homosexual relationship. “The Selfish Giant” is the story of a sinner’s path to redemption. Wilde may have identified very well with the Giant, because he was a particularly tall man. It is possible that he wrote this in the spirit that he too would be forgiven. As legitimate as this argument is, the allegory works on several levels, the most striking of which is spiritual union with Christ. The final fairy tale examined is “The Nightingale and the Rose,” a tragic story of unrequited love. Believing that a student was destined to be a "..