Each of these relationships has a very distinctive language. In general, the language patterns of each relationship can be divided into three groups: the Fantastical, the Upper Societal, and the Chaperonal. Cecily and Algernon’s conversations, as well as conversations they have outside their pairing are that of the Fantastical. They often have a made up story ready on hand. Whether or not they actually believe that story can be either totally unapparent and we have to guess, or quite obvious. Our Upper Societal pairing is Jack and Gwendolen. Upper Societal language is apparent in it’s constant use of what is fashionable, or what fits in. While Jack may have been “born” in a handbag, he certainly knows the rules of society and abides by them (for the most part). Chaperonal language is a bit harder to define, but it does dictate much of the language between Dr. Chasuble and Miss Prism. It is the language of those who should and must set an example for those around them. Whether or not they want to abide by the rules that being a chaperone has gifted them can be up to some debate, especially when they have to start drawing on metaphors to get them out of tight situations.
Starting with our famous Fantastical couple, we see a couple of things in their conversations pointing to their need for fantasy and imagination. First, Cecily claims that she and “Ernest” have been engaged for quite some time. Cecily’s evidence lies in something she wrote in her journal. Apparently the engagement was settled “On the fourteenth of February last. Worn out by you entire ignorance of my existence, I determined to end the matter one way or the other, and after a long struggle with myself I accepted you under this dear old tree here. The next day I bought this little ring in your name, and this is the little angle with the true lovers’ knot I promised you always to wear.” Were that not enough, Cecily has entirely made up parts of “Ernest’s” personality. “Yes, you’ve wonderfully good taste, Ernest. It’s the excuse I’ve always given for your leading such a bad life.” The fact that, for the most part, Algernon actually does have quite good taste is mostly coincidence. Had he not, the point of this play would probably have been moot.
However, Algernon himself has quite the imagination. This is seen for the most part by his Bunburying and his schemes. To make a modern day reference, he is very much the young Sirius Black from Harry Potter, willing to get up to trouble as long as it amuses him. While Algernon is very much aware of his lies, he does use them quite extensively. Poor Bunbury, though an imaginary friend, is only treated as a real person by those around Algernon with the only real exception being Jack as Algernon let Jack in on the secret and, at least until the very end of the play, Jack is not family. Algernon also accuses Jack of being a “Bunburyist” as well– a Bunburyist of the most advanced kind. However, Jack is not a Fantastical person. Why? Jack’s use of the Bunbury principle is very simple. He is not pretending to be anyone different. He is simple using the alternate name as a way to escape the pressures of country living. Ernest on the other hand decides to become this “awful fellow” Ernest in order to get to meet Jack’s ward. As much as it is in order to meet Cecily, it would appear that Algernon falls under Cecily’s spell quite quickly. Perhaps it is her insistence that they have known each other for as long as “dear Uncle Jack” has been telling stories about “Ernest”.
Upper Societal is a bit more complex to explain, but is rather simple in theory. To pull in other references, if Dracula spoke in an Upper Societal fashion, he would have fit in quite easily– that is to say, he did, and that was scary to people of the time period. However, Jack and Gwendolen are not vampires, so to fit in for them is a much easier, and much more acceptable thing. It’s not scary in the least. The scariest thing about this part of the story of The Importance of Being Ernest is probably the fact that Jack fits in when he was found in a handbag in the Victoria Station cloakroom. Who would take in such a young and unfortunate charge when he could have easily just dropped the thing in an orphanage? Upper class people often didn’t see the challenges of living in the lower classes at the time, something that Charles Dickens did see. Many of them probably would have thought more along the lines of Scrooge. “Are there no prisons? No poor houses?” In the end, it was probably very fortunate that Jack had the upbringing that he did. If it hadn’t been for a Mr. Thomas Cardew, chances are Jack would have never found out that he was the younger brother of Algernon Moncrieff. He would have grown up in an orphanage and would have probably been sent to work in the workhouses at a very young age. However, that does not change the fact that a boy who assumedly belonged to some second or third class parents was able to, in the mind of the upper classes, infiltrate fashionable society. No one wants his or her daughter married off to a lower class individual.
However, the point still stands. Jack and Gwendolen speak of those things that are fashionable. They speak of these things to each other, and their way of speaking is suggestive of one who can fit in at any of the highest gatherings in society. Jack and Gwendolen’s conversations tend to go along the lines of thus:
Jack: Charming day it has been, Miss Fairfax.
Gwendolen: Pray don’t talk about the weather, Mr. Worthing. Whenever people talk to me about the weather, I always feel quite certain that they mean something else. And that makes me so nervous.
Jack: I do mean something else.
Gwendolen: I thought so. In fact, I am never wrong. (1706)
Were this conversation one that was being had on stage, the accent would be highly indicative of a higher class as well. Terminology and accent tend to differ quite substantially between classes no matter what country you are in.
The best example, however, of Gwendolen’s higher taste is found in a conversation she has with Cecily. The two of them are discussing the fact that they both happen to be engaged to a man named Ernest Worthing while the man doesn’t actually exist. Cecily, thinking that Gwendolen is lying, insists that when she sees a spade she calls it a spade, a common “Pot calling the kettle black” type turn of phrase even today. However, Gwendolen decides to use this common phrase to put Cecily down, stating, “I am glad to say that I have never seen a spade. It is obvious that our social spheres have been widely different” (1726). This cuts straight into the fact that Cecily was raised in the country. While both are of equally high-class birth, Cecily’s out door upbringing is still looked down upon by those she would consider peers. It is no wonder that Algernon, who loathes town life, falls for the woman who grew up in the country when Jack, who loathes country life, falls for the woman who grew up in the town.
However we have one more situation to closely analyze– that of Miss Prism and Dr. Chasuble. In their respected positions, it is not really seen as strictly necessary or proper that they should have any sort of romance. Dr. Chasuble is the minister of the local parish. Miss Prism is the governess for Miss Cecily Cardew. Their relationship appears a lot more restrained that the relationships of the younger generation. This is in part because the relationship is that of two much older and more experienced people, both of whom know what society expects of them and obey those rules firmly. However, this also creates a much more dangerous relationship– a fact that the movie version of this play takes advantage of. Miss Prism and Dr. Chasuble are more worldly. They know what the adult world is made up of. Their speech patterns are a mixture of highly restrained and chastising. One conversation between them is a great example of this.
Miss Prism: You are too much alone, dear Dr. Chasuble. You should get married. A misanthrope I can understand– a womanthrope, never!
Chasuble: [With a scholar’s shudder.] Believe me, I do not deserve so neologistic a phrase. The precept as well as the practice of the Primitive Church was distinctly against matrimony.
Miss Prism: [Sententiously.] That is obviously the reason why the Primitive Church has not lasted up to the present day. And you do not seem to realize, dear Doctor, that by persistently remaining single, a man converts himself into a permanent public temptation. Men should be more careful; this very celibacy leads weaker vessels astray. (1717)
This conversation displays more than a very tenuous grasp on restraint, but it also displays a much more intelligent form of discussion than either of the two other couples. While many of the characters in this play seem to merely seem intelligent by playing with words, Dr. Chasuble and Miss Prism have intelligent conversations consisting of very real subject matters. While the previous conversation in part seems like mere wit, one must pay attention to the real matter being discussed– the propriety of marriage when it comes to the church ministry. Dr. Chasuble insists that because the “Primitive Church”, also known as the earliest church as founded by Paul, didn’t allow marriage that it must not be allowed even now. Of course, this argument is not entirely well founded. Many of the rules concerning the marriage of ministers and priests are strictly rules of the Catholic faith– rules that were abolished by most Protestant ministers after Martin Luther began to break off from the Catholic system. However, Miss Prism makes an interesting point. Were Dr. Chasuble married, it would greatly reduce the temptation toward those things that are technically sins in the eyes of God.
All three couples are substantial enough for us to get a picture of where they may end up in the future. However, they are all different. Not in any way that could necessarily make us separate them from each other by more than the obvious at first. However, it is these differences that make each individual couple unique and interesting for their own themes and own commentaries on life in Victorian England.
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Sources:
Wilde, Oscar. "The Importance of Being Ernest". The Norton Anthology of English Literature: Volumn E. Norton & Company, New York.
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I GOT AN A! Thanks, Prof. Vaccaro!
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