Wilde takes upon himself the role of being the voice of the voiceless. If anything, Wilde does not individualize himself in prison he instead becomes part of a collective force, where the “really humanising influence in prison is the influence of the prisoners.” (961). The narrative space of the letter focuses on punishment, how prison can become a reformed system (if it ever can become one), and the portrayal of prisoners suffering who lived alongside Wilde. This might well be the case in De Profundis, but Wilde being a wounded hero disregards the actual content of his letters to “The Daily Chronicle.” It should be noted that in the letters, Wilde does not speak of himself and his own experiences he mainly takes up the role of an observer of injustices he witnessed in prison, such as with the young boy in “The Case of Warden Martin” and the lunatic man in “Prison Reform.” He doesn’t center himself in these interactions, which goes against the “wounded hero” portrayal of Wilde.

We spoke about how Wilde was classist in De Profundis, acting “holier than thou” as he was a middle-class artist in prison amongst people of another class status.

Searching for scholarships, Julia Wood states in “WILDE THE EXILE: A LIFE LIVED IN LETTERS,” an article in The Wildean, that “there is an invariably underlying drama in Wilde’s expression, and this drama is his need to play out the role of the wounded hero” (44).Ī lot of our comments in class slightly align with this perspective. Because I’m going to write my paper on De Profundis and Wilde’s interaction with the prison system, I decided this week to read his two letters to “The Daily Chronicle,” respectively titled “The Case of Warder Martin: Some Cruelties of Prison Life” and “Prison Reform.” Both letters are Wilde’s attempt to draw public attention to prison experiences by writing to the editor-highlighting ways to stop the three punishments of hunger, insomnia, and disease (965).

De profundis letter