The Green Carnation — Context and Discussion
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inth had not been invented then, and 'The Second Mrs. Tanqueray' had never been written, and women hardly ever smoked, and----"
"And men did not wear green carnations," Lady Locke said.
Mrs. Windsor turned towards her cousin, and lifted her darkened eyebrows to her fair fringe.
"Emily, what do you mean? Ah! here is our Bovril! I feel so delightfully vicious when I drink it, so unconventional! You speak as if you disliked our times."
"I hardly know them yet. I have been a country cousin for ten years, you see. I am quite colonial."
"Poor dear child. How horrid. I suppose you have hardly seen chiffon. It must have been like death. But do you really object to the green carnation?"
"That depends. Is it a badge?"
"I only saw about a dozen in the Opera House to-night, and all the men who wore them looked the same. They had the same walk, or rather waggle, the same coyly conscious expression, the same wavy motion of the head. When they spoke to each other, they called each other by Christian names. Is it a badge of some club or some society, and is Mr. Amarinth their high priest? They all spoke to him, and seemed to revolve round him like satellites around the sun."
"My dear Emily, it is not a badge at all. They wear it merely to be original."
"And can they only be original in a buttonhole way? Poor fellows."
"You don't understand. They like to draw attention to themselves."
"By their dress? I thought that was the prerogative of women."
"Really, Emily, you _are_ colonial. Men may have women's minds, just as women may have the minds of men."
"Dear yes. It is quite common nowadays."
"And has Lord Reginald Hastings got a woman's mind?"
"My dear, he has a very beautiful mind. He is poetic, imaginative, and perfectly fearless."
"He dares do anything. He is not afraid of Society, or of what the clergy and such unfashionable and limited people say. For instance, if he wished to commit what copy-books call a sin, he would commit it, even if Society stood aghast at him. That is what I call having real moral courage."
Lady Locke sipped her Bovril methodically.
"I see," she said rather drily; "he is not afraid to be wicked."
"Not in the least; and how many of us can say as much? Mr. Amarinth is quite right. He declares that goodness is merely another name for cowardice, and that we all have a certain disease of tendencies that inclines us to certain things labelled sins. If we check our tendencies, we drive the disease inwards; but if we sin, we throw it off. Suppressed measles are far more dangerous than measles that come out."
"I see; we are to aim at inducing a violent rash that all the world may stare at."
Her cousin glanced at her for a moment with a tinge of uneasy inquiry. She was not very sharp, although she was very receptive of modern philosophy.
"Well," she said, a little doubtfully, "not quite that, I suppose."
"We are to sin on the house-top and in the street, instead of in the privacy of a room with the door locked. But what will the London County Council say?"
"Oh, they have nothing to do with our class. They only concern themselves with acrobats, and respectable elderly women who are fired from cannons. That is so right. Respectable elderly women do so much harm. Mr. Amarinth said to-night--in the garden scene, if you remember--that prolonged purity wrinkled the mind as much as prolonged impurity wrinkled the face. Nature forces us to choose whether we will spoil our faces with our sins, or our minds with our virtues. How true."
"And how original. This Bovril is very comforting, Betty; as reviving as--an epigram."
"Yes, my cook understands it. That must be so sweet for the Bovril--to be understood! Do you like Lord Reggie?"
"He has a beautiful face. How old is he? Twenty?"
"Oh no, nearly twenty-five. Three years younger than you are. That is all."
"He looks astonishingly young."
"Yes. He says that his sins keep him fresh. A sinner with a young lamb's heart among the full grown flocks of saints, you know. Such a quaint idea, so original."
"I want you to tell me which is original, Mr. Amarinth or Lord Reggie?"
"No, they are too much alike. When we meet with the Tweedledum and Tweedledee in mind, one of them is always a copy, an echo of the other."
"Do you think so? Well, of course Mr. Amarinth has been original longer than Lord Reggie, because he is nearly twenty years older."
"Then Lord Reggie is the echo. What a pity he is not merely vocal."
The novel opens with a prolonged mirror scene: Reggie Hastings adjusts a green carnation in his evening coat, studying his reflection in a long glass near a window. The murmur of Piccadilly drifts in, and the light catches his hair, turning it to gold. This initial posture—a character performing for himself, framed by domestic luxury—establishes a pattern of staged self-regard that recurs throughout the excerpts. The green carnation, introduced here as a deliberate accessory, reappears later in a village church, where it mesmerizes a choirboy. The movement between these two settings—from a London bedroom to a rural choir practice—is abrupt, and the text offers little transition, suggesting a structure that juxtaposes urban artifice with provincial simplicity.
Mirrors and Self-Display
Reggie Hastings's opening scene is a study in self-conscious performance. He changes poses, presents himself full face and three-quarters, and admires his own beauty with a frankness the narrator neither condemns nor endorses. The mantelpiece in his sitting-room holds only photographs of himself. This narcissism is not merely personal; it is a structural principle. The narrative repeatedly returns to characters watching themselves or being watched. In the church scene, Lord Reggie is observed by Lady Locke, who notes his boyish eagerness, and by the choirboys, who stare at his carnation. Esmé Amarinth delivers a speech on youth while sighing theatrically, aware of his own effect. The text thus builds its scenes around moments of display and spectatorship, with the green carnation as a focal point that draws eyes.
The Green Carnation as Recurring Object
The green carnation appears in both excerpts, always in a context of visual fixation. In the opening, Reggie slips it into his coat and studies himself. In the church, the flower creates 'great amazement' among the choirboys; Jimmy Sands is 'specially magnetised by it,' his eyes moving whenever the flower moves. The object thus bridges the two settings, carrying a charge of artificiality into the rural space. The narrator does not explain its meaning, but its recurrence suggests a deliberate motif—something unnatural (green carnations do not occur in nature) that signals a cultivated persona. The flower is also a marker of social performance: it is worn to an evening party and to a choir rehearsal, as if it belongs to all occasions equally.
Movement Between London and the Village
The excerpts shift from a London bedroom to a village church without connective tissue. The first scene is interior, private, and urban; the second is communal, public, and rural. The church scene involves a choir practicing an anthem, with Lord Reggie at the piano and the village organist having copied out the music. The contrast is stark: the murmur of Piccadilly gives way to squealing village voices. Yet the same characters—Reggie, Amarinth, Lady Locke—appear in both, suggesting that the novel moves between these poles without resolving the tension. The rural setting does not simplify the characters; Amarinth's speech on youth and sin is as elaborate here as any London epigram. The structure seems to test whether the artificial can be transplanted, and the green carnation, appearing in both places, is the test object.
Voice and Theatrical Speech
The dialogue in the excerpts is highly stylized, often resembling set pieces. Amarinth's lament for lost youth—'Ah! youth with its simple puns and its full-blooded pleasures'—is delivered with a sigh 'as the wind sighs through the golden strings of a harp.' The narrator describes his sigh as 'beautiful as the face of a young Greek god.' This self-consciously literary language is consistent across characters: even Mrs. Windsor's remark about nightgowns and angels has a crafted quality. The effect is that the novel's voice is itself a performance, never settling into naturalism. Readers should attend to how the prose oscillates between ironic distance and lyrical indulgence, and how the characters' speeches often seem directed at an audience within the scene as much as at the reader.
Because the excerpts cover only the opening and a later church scene, the full arc of the novel remains unclear. The green carnation may accumulate further significance, and the movement between settings may develop into a more explicit commentary on English society. Readers are advised to track the flower's appearances and the shifts in narrative distance. The novel rewards attention to its surfaces—the objects, the poses, the epigrams—without promising a stable interior beneath them.
I’ve long noted how the green carnation seems to bloom indoors and out, always watching. That quiet theatricality reminds me of another volume’s careful study of lineage—how we perform ourselves across rooms and fields. There’s a kinship in their shared gaze. Ancestors: A Novel — Edition Insights holds that same patient, observant warmth, like a familiar shelf companion.
Grayson Jackson
1 month agoAlexander Wright
3 weeks agoIsaac Hernandez
4 weeks ago-
Donna Livingston - 3 weeks ago
The Green Carnation is a witty and satirical novel that brilliantly captures the aesthetic movement of the late Victorian era. Robert Hichens' sharp prose and clever dialogue make it a delight to read. It's a fascinating glimpse into the social circles of Oscar Wilde, and the characters are memorable. A must-read for literary history buffs. -
John Lowery - 3 weeks ago
The Green Carnation is a poorly written novel with shallow caricatures instead of real characters. The satire is heavy-handed and repetitive, and the dialogue feels forced. It adds nothing new to the literature of its time and is more of a curiosity than a good read. -
Bryan Logan - 2 weeks ago
The Green Carnation is an interesting satire that provides insight into the lives of the aesthetes. The wit is sharp, but the plot is somewhat lacking, feeling more like a series of conversations than a story. Still, it’s worth reading for its historical and cultural significance.
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John Lewis
4 weeks ago