30 pages 1-hour read

The Soul of Man Under Socialism

Nonfiction | Essay / Speech | Adult | Published in 1891

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Themes

The Cultivation of Individualism

Socialism’s primary recommendation, for Wilde, is its potential to facilitate individualism. By “individualism,” Wilde does not exactly mean independence; although Wilde argues that compulsory social and societal responsibilities inhibit individualism, he also notes that humans are “naturally social.” Nor does Wilde see individualism as a euphemism for selfishness, arguing that people would be much less selfish in a truly individualist society. Rather, Wilde defines individualism as the realization of who one is as a unique human being, independent of any external pressures, and he argues that a society composed of such individualists would be much healthier and happier than 19th-century England.


Wilde does not deny that some people—primarily artists—approach such individualism even in capitalist societies. Suffering itself can refine the individual in the way Wilde imagines. Of Russia, a place of such rampant inequality that it had only abolished serfdom in the mid-19th century, Wilde writes: “No one who lived in modern Russia could possibly realise his perfection except by pain” (88). Moreover, suffering can prompt rebellion, which itself tends to develop the self—hence Wilde’s preference for the “ungrateful” and “disobedient” poor. However, there is a problem with cultivating individualism through these avenues that for Wilde eclipses even the obvious objections (e.g., that people should not have to suffer unnecessarily). Suffering and rebellion as modes of individualism presuppose an unjust society; they are merely “reference to wrong, unhealthy, unjust surroundings” (89), and such surroundings do not uniformly result in individualism. On the contrary, Wilde argues that they much more commonly produce conformity and even degradation, and Wilde wants individualism to be accessible to all.


Wilde sees joy as the surer path to self-development. Much of the essay focuses on the importance of the internal, determined by what someone enjoys, and how damaging it is to that internal world to bow to external pressure. Wilde points out that a man “may commit a sin against society, and yet realise through that sin his true perfection” (27). What matters is that the impulse comes from the self: Even an act society might deem wrong can be “perfect” if it reflects an internal consistency. Indeed, Wilde suggests that any friction between one individual’s pursuit of happiness and fulfillment and another’s stems not from the individuals themselves but from the nature of society. A society in which everyone is free to pursue individualism would benefit the people within it. If everyone were true to themselves, they would not only increase the net happiness of the world by producing beautiful things, but also by taking honest pleasure in the joys of others, however different from their own. Coupled with the material safety of socialism, such individualism, far from producing conflict, would actually guarantee social harmony.

The Danger of Authority

Throughout the essay, Wilde critiques various “authorities” that he defines as exercising control over others. These authorities include organized religion, the government, the press, and the public at large. They do not all exercise power in the same way—the government, for instance, does so in large part through the judicial system—and their spheres of influence often overlap; Wilde describes the press as both responding to and shaping public opinion. What unites them, however, is their shared and (in Wilde’s eyes) destructive tendency to impose external rules that inhibit the freedom and growth of the self and create conformity.


Though Wilde does not quite specify which exists to serve which, he also suggests that these centers of authority have a mutually reinforcing relationship with the primary power system one would expect an essay on socialism to critique: capitalism, or the system of private property. Wilde argues that the concentration of property in the hands of a small elite relegates an entire class of people to something like enslaved status; the lower classes give up their lives serving those with resources in exchange for a small share of those resources. This not only forces people to engage in things they don’t enjoy but also (and relatedly) interferes with their development of “true personalities.” The capitalist system thus becomes self-perpetuating, as those who lack individuality are not merely unlikely to rebel but rather prone to punish individuality when they encounter it. Of art, for example, Wilde writes, “[I]t is to be noted that it is the fact that Art is this intense form of Individualism that makes the public try to exercise over it in an authority that is as immoral as it is ridiculous” (42).


Given capitalism’s role in maintaining this coercive system, Wilde argues for the establishment of socialism. Socialism alone is not sufficient, however; Wilde rejects any form of socialism that is itself authoritarian, leaning instead towards anarchism. Ultimately, Wilde envisions no role for government beyond the distribution of necessary resources. Importantly, such resources would be produced not by humans but by machines, meaning that the government would have no authority at all over people. Crime in such a society would be rare, Wilde argues, because most crime originates either in material want or in the psychological “degradation” that authority inevitably produces; the government would therefore have no need to dispense punishment, which (as an exercise of power) merely exacerbates the problem of crime anyway. Absent any oversight, people will simply choose their pursuits according to their pleasure while delighting in the pursuits of others, create a more “beautiful” world than any exercising of authority could ever produce.

Socialism Supports Aestheticism

Wilde argues from the perspective of an artist: His goal is the creation of a more beautiful society, and he sees socialism as the system capable of facilitating this. Though many of the changes he advocates for, such as the reallocation of resources, would be economic, Wilde spends little time on socialism as a political or economic system. Instead, he writes about how a society that met everyone’s material needs would allow for and incentivize “true” art.


At the time Wilde was writing, many believed that art should have a moral dimension or teach the recipient some kind of lesson. This is what Wilde pushes back against when he writes of the individual artist creating without regard for the broader society. An artist’s only concern should be the creation of beauty, which is itself the inevitable result of individualism: “A work of art is the unique result of a unique temperament. Its beauty comes from the fact that the author is what he is” (41). The incentive to create art that will please others is, in Wilde’s eyes, an unnatural byproduct of the capitalist system: “[T]he moment that an artist takes notice of what other people want, and tries to supply the demand, he ceases to be an artist, and becomes a dull or an amusing craftsman, an honest or a dishonest tradesman” (41). Here, Wilde uses the language of economics—“supply,” “demand,” etc.—to underscore the role capitalism plays in distorting art’s purpose. The argument is analogous to the one Wilde makes about charity being a mode of living for others necessitated by the current unequal distribution of resources. In a society that equitably distributed resources, these relationships of obligations would fade away; the artist could create only for themselves, much as people in general could pursue their own interests freely.


Wilde maintains that it is not only artists who would benefit from this arrangement. Though Wilde writes disparagingly of the public’s aesthetic judgment, he does not view their disinterest in what he considers “good” art to be natural. A system that afforded people time and space to develop their own interests and personalities would make them far more receptive to art, Wilde suggests, by eliminating the learned tendency to respond punitively: “Who told [the public] to exercise authority? They were made to live, to listen, and to love. Someone has done them a great wrong” (71). Moreover, in this claim that people were meant “to live,” Wilde hints at another, more sweeping way in which socialism would facilitate aestheticism. One does not have to paint or write poetry to be artistic, in Wilde’s view; the mere act of living one’s life authentically makes the world a more beautiful place. A society in which everyone could pursue their own passions would be a society composed entirely of artists.

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