Oscar Wilde, "The Critic as Artist"

Throughout Oscar Wilde's "The Critic as Artist," two speakers, Gilbert and Ernest, contemplate the highest form of criticism. After recognizing that criticism demands more cultivation than creation, Gilbert defends the idea that "the highest criticism really is, the record of one's own soul"(1027). He begins by tracing the whole system of art criticism to the ancient Greeks and continues to make the argument that the true critic is unfair, insincere, and not rational.



Part One of " The Critic as Artist" place criticism above creation. Gilbert argues that "criticism demands infinitely more cultivation than creation does" (1022). The process of analyses and though requires a larger amount of investment than the process of creating art. The instinct of creation is repetition, while contemplation produces innovation. Only through the critic can art develop. While Part One deals with the importance of criticism, Part Two gives a deeper insight on how to be a true critic.



At the end of the dialogue Ernest summarizes Gilberts key points, stating "that the true critic is unfair, insincere, and not rational" (1058). Gilbert defends the notion that a true critic should be unfair by explaining that "it is one's business...to have preferences, and when one has preferences once ceases to be fair" (1047). It is completely acceptable for the critic to be unfair as long as they do not carry prejudices, which obscure their vision of the artwork. " An unbiased opinion is always absolutely valueless," because the person lacks the passion for the art (1047). Gilbert also states that a true critic should learn to " recognize that the sphere of Art and the sphere of Ethics are absolutely distinct and separate" (1048). In other words a critic should learn to remove his personal morals and values from the art he is criticizing. Sincerity and fairness fall under the category of morals which is why there is not place for them in criticism. A critic can not be rational because art is not rational. Beauty is not rational. Love and passion are not rational. If a critic approaches a piece of art with a rational eye it will only limit his ability of reacting to the work of art.

Gilbert explains to Ernest that, "temperament is the primary requisite for the critic" (1049). With temperament the critic has the ability to approach a piece of art and discover something new and as creative as the piece of art itself. Essentially the primary job of the critic is to take a piece of art work and try to shed new light upon it. The criticism they then create has the ability and in its highest for is a new and even greater piece of art itself. The critic uses the piece of art as a starting point for even greater creation. He deals with the art work internally rather than expressively. If art mirrors man in all his infinite variety the critic allows the audience to see their mirror image through his criticism.