Identity is fluid. Oscar Wilde's An Ideal Husband (created 1895) affirms this concept. The piece affirms the idea that we, as humans, shape our own identity through conscious decision. In doing so, Wilde questions the idea of ​​identity rigidity – 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 uproots traditional concepts surrounding masculinity and denigrates the development of the “new woman” at the end of the 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 should not be banned'?Get the original essayWilde, challenging Victorian notions of latent identity, describes identity as mutable; shaped by human decision. This becomes clear when examining the characterization of Lord Goring – the dandified bachelor of An Ideal Husband. He is said to be "intelligent", "but he wouldn't like to be thought so", as well as "a flawless dandy, he would be annoyed if he was considered romantic". These guidelines show him as actively aware of how others perceive him, implying that he is attempting to shape that perception. Lord Goring repeatedly downplays his intelligence, declaring that he "knows nothing of practical life" to Gertrude Chiltern, and telling Sir Robert not to "mind what I say". However, it is then described as "showing the philosopher behind the dandy". Through his characterization, it is evident that Lord Goring is actively shaping his identity, no matter how false it may be. An Ideal Husband's interrogation of fixed identity is further underlined by the character of Mrs. Cheveley, the villain of the piece, as a shaper of her own identity. Although she "resembles more of an orchid" and is "extremely graceful in all her movements", Wilde clarifies that this is a facade that she chooses to present. She talks about “being natural” as a “very difficult pose to follow.” Even being “natural” is a pose, showing one’s active creation of an identity. In the third act, Mrs. Cheveley's true nature is revealed, when "a mask has fallen from her" and "she is, for the moment, horrible to look at." Ms. Cheveley is described in the production as "a work of art, on the whole, but showing the influence of too many schools", denoting the idea that an "artist" – the person themselves – created its own identity. This idea is summed up in Lady Markby's statement: "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 framed in masculine terms with a "firmly chiseled mouth and chin" and "black hair and eyes" – the stereotypical description of "hero". However, he is then repeatedly depicted "in a state of great mental excitement and distress" uttering melodramatic statements such as "Oh, love me always, Gertrude, love me always!" peppered with exclamations and repetitions. This emotionality has generally been a feminine stronghold. Lord Goring, meanwhile, is described in feminine terms – wearing “all the delicate accessories 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 verses alternate with Lord Goring's short statements such as "Personally, I have great admiration for stupidity. "It's a kind of camaraderie feeling, I guess. This juxtaposition inverts gender expectations, redefining masculine identity. Additionally, the positive portrayal of Lord Goring in the play represents “dandy” as a valid masculine identity. The fringe aesthetics movement, of which Wilde was a key member, was frequently satirized by the conventional press, so Wilde questions Victorian expectations of gender identity. The audience is attached to Lord Goring through his comic dialogue – for example Lord Goring's insistence in act three that his buttonhole is "too trivial" and that it makes him look "a little too old" , combined with the “yes, Monsignor’s answers are very amusing. He also declares, while “looking in the glass,” that “my father tells me that I too have faults. Maybe yes. I don't know". For the audience watching the play, this image is extremely funny. Lord Goring is the originator of many paradoxical statements, such as the famous "I like to talk about nothing, father". This is the only thing I know anything about Therefore, through Wilde's use of comedy, he makes us appreciate the character of Lord Goring as an audience Wilde's humor renders the 'dandy' as an audience. identity more acceptable to a Victorian audience, thus challenging the traditional and powerful 'hero' identity of men. Although Wilde is progressive in this regard, he is conservative in his interrogation of the identity of the 'new woman'. ., brought to the fore through the character of Lady Chiltern ventures into the public sphere, becoming involved in the Women's Liberal Association and in issues such as "the factory laws, the right to vote." parliamentary” and by defending “higher education for women”. However, Wilde demystifies this flourishing identity of Victorian women. At the end of the play. Lady Chiltern in a disturbing dialogue (for a modern audience) repeats Lord Goring's statement that "a man's life is more valuable than a woman's", stating that "the way women help the world » involves forgiving their men. The curtain closes on the image of Lady Gertrude "leaning over the back of 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 her husband's supporter . This implies that Lady Chiltern will no longer attempt to influence her husband in the public sphere due to the havoc this has caused, ending on a decidedly conservative note lamenting the growing political influence and identity of the "new woman". Some might point to Mrs. Cheveley, the villain of the piece, as evidence of Wilde's encouragement of a strong feminine identity. Initially, Mrs. Cheveley is characterized as independent – ​​manipulating the male characters when she "drops her fan" and Sir Robert must retrieve it for her. She is portrayed as powerful as shown by her position in the first act where she is "leaning back on the couch" with languid arrogance, as well as her militaristic dialogue where she refers to the "war" she is waging. to win against his “enemy”. Sir Robert in the 'Game of Politics' However, Mrs. Cheveley is ultimately punished by Wilde, due to her attempts to exert her influence in the 'man's world' of politics. After her manipulations fail, she is silenced throughout the entire fourth act, implying her banishment from polite society and testifying to the questioning of,.