38 pages • 1 hour read
Oscar WildeA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Act I begins in Sir Robert Chiltern’s home in the octagon room. He and his wife, Lady Chiltern, are hosting a party. As guests enter, Lady Chiltern greets them while a large tapestry featuring François Boucher’s “Triumph of Love” (195)—probably either Boucher’s Triumph of Venus or Visit of Venus to Vulcan—hangs behind her. Lady Basildon and Mrs. Marchmont, two guests at the Chiltern home, discuss their plans for the evening and their distaste at the company they’ve encountered there so far. As they move to the music room, Lord Caversham, a politician and father to Viscount (Lord) Goring, enters and asks after his son, referring to him as a “good-for-nothing.” Lady Chiltern tells Lord Caversham he hasn’t yet arrived.
As they talk, Mabel Chiltern—Sir Robert’s sister—enters and defends Lord Goring, asking Lord Caversham why he doesn’t visit more often. He replies that he is tired of London society and rarely wishes to go out anymore. Mrs. Cheveley and Lady Markby then enter. When Lady Markby introduces Mrs. Cheveley, Lady Chiltern realizes she has met her before. Though Mrs. Cheveley does not remember, the two women went to school together. At this recognition, Lady Chiltern turns cold. However, Mrs. Cheveley seems not to notice and asks after Sir Robert, who she says is well-recognized in Vienna, where she lives and dabbles in politics. Shortly after, Sir Robert enters.
Sir Robert, who is a member of Parliament in the House of Commons, introduces himself to Mrs. Cheveley, whose name he recognizes. Sir Robert asks Mrs. Cheveley why she’s visiting London. Mrs. Cheveley tells him that she’s come to ask something of him. When he presses further, she tells him she’ll discuss it with him later. For the moment, she asks him to show her the art in his home, mentioning that their mutual acquaintance Baron Arnheim mentioned it was wonderful. Lord Goring then arrives. When Sir Robert attempts to introduce him to Mrs. Cheveley, he finds they already know each other.
Mrs. Cheveley and Sir Robert leave to tour the rest of the home while Lord Goring stays behind to talk with Mabel. He asks who brought Mrs. Cheveley to the party, and Mabel wonders why he asks. Lord Goring informs her that it’s been years since he’s seen Mrs. Cheveley. Another guest, the Vicomte de Nanjac, asks Mabel to accompany him to the music room, and she looks disappointed, asking whether Lord Goring will join them as well. Lord Goring tells her he won’t if there’s any music playing.
Lord Caversham approaches his son as the other guests enter. They begin a lively discussion about London society and marriage. Lady Basildon and Mrs. Marchmont inform Lord Goring that they have both married perfect husbands and regret it. They denounce Lord Goring in jest, vilifying him for talking with Mrs. Cheveley, whom they dislike. When Mabel enters, she asks Lord Goring to accompany her to supper, and as they walk away together, she asks why he has hardly talked to her all evening and tells him she doesn’t like him. He replies that he likes her very much.
As the other guests also move downstairs for dinner, Sir Robert and Mrs. Cheveley enter the octagon room. Mrs. Cheveley tells Sir Robert of her proposition that he support the Argentine Canal Company. Sir Robert refuses, telling her he believes it to be a scheme, though he once supported the Suez Canal. Mrs. Cheveley explains that she has invested in the Argentine Canal on advice from their mutual friend Baron Arnheim. Its success, however, is contingent upon England’s approval, and Sir Robert tells Mrs. Cheveley he’ll be delivering a report tomorrow night denouncing its viability.
Mrs. Cheveley attempts to bribe Sir Robert into giving a false report to the House the following day. Sir Robert declines, asking Mrs. Cheveley to leave. Instead, she informs Sir Robert that she knows the true nature of his fortune—that he convinced Baron Arnheim to buy shares in the Suez Canal knowing the government would soon invest. She holds the letter he wrote as proof of her accusation. She offers to sell him the letter in exchange for the false report on the Argentine Canal. Though he initially refuses, Mrs. Cheveley continues to threaten to reveal his secret—and therefore to jeopardize his career, reputation, and marriage. She gives him until the following evening to decide, promising that if he lies to the House as she has asked, she’ll deliver his letter to him afterward.
As Mrs. Cheveley leaves, having completed her business, the other guests and Lady Chiltern return from dinner. Mrs. Cheveley bids Lady Chiltern goodbye, telling her that Sir Robert has changed his position on the Argentine Canal, which Lady Chiltern finds suspicious. As the guests depart, Lord Goring and Mabel remain in the octagon room, where they find a diamond brooch in the sofa. Lord Goring takes it, telling Mabel to inform him immediately if anyone comes looking for it. Lady Chiltern returns and tells Lord Goring about Mrs. Cheveley’s news; both of them are confused by the events of the evening. When Sir Robert returns, Lord Goring bids farewell.
Lady Chiltern then questions Sir Robert, telling him that Mrs. Cheveley was expelled from school for stealing and that he should not trust her. He tells her not to judge anyone on their past, but she insists that’s the only way to know one’s character. When Sir Robert tells her that he simply changed his mind, she refuses to believe him and asks if he’s telling the truth. She demands that Sir Robert write Mrs. Cheveley to withdraw his support. He agrees, writes the letter quickly in front of her, and sends it immediately. She tells him she fell in love with him for his character—that she loves his honesty and strong values and that, should she find out he’s lying, it would kill her love for him. In distress, he begs her to tell him she will always love him. She agrees that she will because he is worthy of her love.
The opening dialogue between tertiary characters Mrs. Marchmont and Lady Basildon satirizes Victorian conceptions of both class and gender. For example, Mrs. Marchmont tells Lady Basildon that she’s come to the party to find a “serious purpose in life” per Lady Chiltern’s suggestion (120). Lady Basildon responds that she sees not one example of a serious purpose—but she is referring to their romantic prospects with men. This banter highlights key themes that the play explores, including marriage and The Meaning of Class and Gender in a Modern World. Lady Chiltern represents the modern woman who champions women’s education and political involvement, while her guests ponder the relevance of these aspirations for their own lives. This is indicative of the extreme social shifts during the Victorian era as well as Wilde’s critique of high-minded political movements, which he suggests are merely another iteration of Victorian puritanism.
The conversation and eventual conflict between Sir Robert and Mrs. Cheveley furthers Wilde’s critique of high society’s pretensions of morality. Sir Robert tells Mrs. Cheveley that a career in politics is a noble pursuit, to which she responds that it sometimes is also a “clever game,” the later action of the play revealing exactly what she means by this. Wilde’s larger critique, then, is that politicians are playing a game that none of them reveal they are playing, pretending instead that they are pursuing some higher calling. This is further exemplified through Sir Robert himself: The whole of London regards him in high esteem, but he is principally concerned not with ethics per se but rather with how the perception of impropriety could derail his career and marriage.
By contrast, Lord Goring, Sir Robert’s foil, does not pretend to be anything he isn’t, instead pursuing a life more aligned with pleasure, beauty, and humanity. Through Lord Goring, the play examines the theme of Life as Art as it relates to social life in the Victorian era. When Lord Caversham condemns his son for a “dandified” lifestyle and says society no longer talks about anything of importance, Lord Goring responds, “I love talking about nothing, father. It is the only thing I know anything about” (212). Lord Caversham responds that his son seems to live only for pleasure. Lord Goring therefore becomes the vessel through which this theme is explored, his pursuit of pleasure and even his insistence on his own vapidity acting in opposition to the Victorian era’s didactic moralism.
Toward the end of Act I, Lady Chiltern suggests that losing her reverential attitude toward Sir Robert would entail losing her love of him: “We women worship when we love; and when we lose our worship, we lose everything” (231). This sentiment plunges Sir Robert further into distress since, if Mrs. Cheveley reveals the letter, his career and his marriage will be ruined. However, the play implies that it is not the letter itself but rather Lady Chiltern’s attitude of worship that actually jeopardizes the marriage—a point Wilde underscores through his ironic use of the Triumph of Love tapestry. The play begins against this backdrop, which symbolizes the theme of Fashionable Morality Versus Authentic Marriage that An Ideal Husband explores. Wilde uses the tapestry, which depicts the victory of love, to frame first Lady Chiltern and then Sir Robert. Lady Chiltern’s rigid morality entails a conditional love reserved only for a husband who can meet her impossible ideals, which suggests that love might not actually conquer all. The tapestry is also the only thing visible at the end of Act I, when Sir Robert realizes that Mrs. Cheveley knows a secret that could destroy his marriage. Wilde uses the tapestry to critique the strict morality that does not afford much compassion or forgiveness but that nevertheless underpins marriage—theoretically a loving relationship—in Victorian society. As it hangs over a troubled Sir Robert in the end scene, it symbolizes the weight and pressure his wife’s “love” places upon him.
By Oscar Wilde