ionalize; he wants only to move forward in the proper manner established by society. Upon initially hearing about Cicely, Algernon is intrigued. She is no more than a name on a cigarette case. After intense probing, Jack discloses Cicely’s identity. Algernon then tells Jack, “I would rather like to see Cicely” (51). She suddenly becomes more of a name to Algernon, and he begins to pursue her as more than a person; she becomes his moral objective. When Jack reveals to Gwendolen his address in the country, Algernon secretly “writes the address on his shirt-cuff” (53) in hopes of going to meet Cicely. Shortly after his first encounter with her, he reveals to Jack, “I am in love with Cicely, and that is everything” (71). This newfound love is his truth. He admits to her, “Cicely, ever since I first looked upon your wonderful and incomparable beauty, I have dared to love you wildly, passionately, devotedly, hopelessly” (73). Yet Algernon quickly abandons the truth imbedded in love, his moral objective, and instead opts for convention. “I don’t care for anybody in the whole world but you. I love you, Cecily. You will marry me, won’t you?” (74). The irony displayed through Algernon’s self-contradiction is the pivotal progression that eventually results in Wilde’s intended resolution of the playAlgernon reveals he “simply wanted to be engaged to Cecily” (88) to Jack, who quickly dismisses him. “There is certainly no chance of your marrying Miss Cardew” (88). It is this obstacle, and its respective denouement, which outlines the basis of Wilde’s thematic emphasis. Prospective marriage, by means of engagement, serves not only as an obstacle but also a resolution. In Algernon’s view, “Cecily is the sweetest, dearest, prettiest girl in the whole world. And [he doesn’t] care twopence about social possibilitiesR...
