No account was taken of his manifold virtues and graces: no credit given him for his extraordinary achievements: he was hounded out of life because his sins were not the sins of the English middle-class.

The culprit was in[1] much nobler and better than his judges.
Here are all the elements of pity and sorrow and fear that are required in great tragedy.
The artist who finds in Oscar Wilde a great and provocative subject for his art needs no argument to justify his choice.

If the picture is a great and living portrait, the moralist will be satisfied: the dark shadows must all be there, as well as the high lights, and the effect must be to increase our tolerance and intensify our pity.
If on the other hand the portrait is ill-drawn or ill-painted, all the reasoning in the world and the praise of all the sycophants will not save the picture from contempt and the artist from censure.
There is one measure by which intention as apart from accomplishment can be judged, and one only: "If you think the book well done," says Pascal, "and on re-reading find it strong; be assured that the man who wrote it, wrote it on his knees." No book could have been written more reverently than this book of mine.
FRANK HARRIS.
Nice, 1910.
FOOTNOTES: [1] [Transcriber's Note: Printer error.

In the 1930 U.S.edition the word "in" is deleted.] OSCAR WILDE: HIS LIFE AND CONFESSIONS.