The volume opens with Wilde’s review of Whistler’s “Ten O’Clock” lecture, published in the Pall Mall Gazette on February 21, 1885. Wilde immediately sets a tone of ironic admiration, describing Whistler’s “really marvellous eloquence on the absolute uselessness of all lectures of the kind.” The review portrays Whistler as a “miniature Mephistopheles mocking the majority,” a phrase that captures the combative theatricality of both men. This initial piece establishes the central tension: a public debate about art’s purpose, conducted through witty, venomous prose.

The Opening Gambit: Wilde’s Review of Whistler’s Lecture

Wilde’s review is not a neutral report but a performance in itself. He paraphrases Whistler’s argument—that the public should cultivate ugliness—while subtly mocking the audience’s discomfort. The description of Whistler as “a brilliant surgeon lecturing to a class composed of subjects destined ultimately for dissection” turns the lecture into a theatrical spectacle. Wilde’s own voice emerges through elaborate metaphors and a tone of amused condescension. The review ends with a pointed remark about the audience’s “permanent stupidity,” a jab that foreshadows the personal animosity to come. Readers should note how Wilde uses Whistler’s own rhetorical strategies against him, a pattern that recurs throughout the correspondence.

Whistler’s Counterattacks: Accusations of Plagiarism

Whistler responds with escalating accusations, claiming Wilde has stolen his ideas. In one letter, he refers to Wilde’s “lucubrations” and calls him an “ill-bred and ignorant person.” The charge of plagiarism becomes a recurring motif: Whistler accuses Wilde of appropriating material from his lecture for Wilde’s article “The Decay of Lying” in the Nineteenth Century Review (January 1889). Whistler’s tone shifts from sarcastic to indignant, as he demands that Wilde “restore those things to Nathan’s” and stop “masquerading the streets of my Chelsea.” These exchanges reveal a deep personal rivalry, where artistic disagreements are inseparable from social status and public reputation.

Wilde’s Defensive Posture and the Role of the Press

Wilde’s replies are fewer in the excerpts, but his defensive strategy is clear. He adopts a tone of wounded innocence, claiming that Whistler’s attacks are “impertinent, venomous, and vulgar.” Yet he also subtly undermines Whistler by referring to him as “my master,” a sarcastic acknowledgment of Whistler’s claim to influence. The correspondence is mediated through newspapers and private letters, making the press a third party in the dispute. Readers should observe how each writer tailors his language for a public audience, using hyperbole and theatrical insults to entertain as much as to argue. The excerpts suggest that the feud is as much about performance as about principles.

The Final Exchange: Personal Insults and a Call for Truth

The later excerpts escalate into direct personal attacks. Whistler’s note “JUST INDIGNATION” mocks Wilde’s appearance in a “Polish cap and green overcoat, befrogged, and wonderfully befurred,” a vivid image that reduces the debate to caricature. Whistler’s closing line—“the rage of the sheep is terrible”—dismisses Wilde’s supporters as a mindless herd. The correspondence ends without resolution, leaving the reader with a sense of unresolved bitterness. The transcriber’s note indicates that punctuation and spelling have been silently corrected, but the raw energy of the original exchanges remains. This final section underscores how the feud devolves from intellectual debate to personal ridicule, a trajectory that defines the entire collection.

This collection offers a concentrated glimpse into a famous artistic rivalry, but the excerpts are incomplete. Readers should not assume they capture the full arc of the dispute or the broader context of the “art for art’s sake” movement. The letters and reviews are best read as performances, where each writer crafts a persona through language. Pay attention to the shifting tones—from Wilde’s ironic elegance to Whistler’s blistering sarcasm—and consider how the public nature of the exchange shapes each argument. The volume is a document of its time, revealing how late-Victorian artists used the press to wage personal and aesthetic battles.