This paper, “Oscar’s Wilde’s Genealogy is Garbage,” by Miles Mathis, asserts that Oscar Wilde’s purported genealogy and literary output are flawed. The author claims mainstream genealogy is untrustworthy and suggests that wilde’s family tree has been intentionally obscured. Mathis scrutinizes wilde’s maternal lineage, focusing on names like Jane Elgee, Francesca, Isola, and Cadwallader Waddy, arguing they point to nobility rather than laborers. He connects wilde’s maternal lines to prominent families such as the Pallisers, Franklands, and potentially Ben Franklin.
The paper then delves into wilde’s paternal side, suggesting his father was not from a humble background, citing his status as a knight and doctor. Mathis proposes wilde was distantly related to Thomas Wilde, 1st Baron Truro, and through him, to Augustus Hanover, son of George III, and ultimately to Stanley, 7th Earl of Derby. He also links wilde’s paternal line to George Washington and Jim Morrison through Thomas Montague Morrison Wilde. The author criticizes the genealogical record’s obfuscation of wilde’s ancestors, particularly the paternal side.
Mathis argues that wilde’s association with the Masonic Lodge at Oxford University and his supposed Catholicism are fabrications. He contends that wilde was a “Phoenician/crypto-Jew.” The author critiques wilde’s early career, particularly his lecture tour in the US, and his involvement in politics, specifically signing a petition for the Haymarket Affair anarchists. Mathis also challenges the narrative of wilde’s sexuality, suggesting it was not a late development.
The paper criticizes wilde’s professional appointments at the Pall Mall Gazette and Lady’s World (later Woman’s World), attributing them to connections rather than merit, and links Sir Thomas Weymss Reid, wilde’s employer at Lady’s World, to banking families like Barings Bank and Barclays Bank. Mathis then analyzes wilde’s literary works, including “The Happy Prince and Other Tales,” “The Selfish Giant,” and “The Decay of Lying,” arguing that wilde manipulated his work for commercial gain and promoted deceptive ideas about art and truth. He contrasts wilde’s philosophy with that of Whistler and Tolstoy.
Mathis extends his critique to the pervasive influence of wilde’s ideas on contemporary culture, particularly the notion that “reality is an illusion,” which he attributes to Phoenicians and links to figures like Jordan Peterson and Tucker Carlson. He associates wilde’s aesthetic theories with the aims of the Fabian Society. The author also dissects wilde’s essay “The Critic as Artist,” arguing that wilde sought to elevate critics over artists and that this trend has led to the degradation of art. He connects this to George Orwell’s ideas about artists.
The paper highlights Whistler as a figure of admiration and a defender of true art, contrasting him with wilde. Mathis speculates about wilde’s family connections to Whistler through the Abbott and McNeil families. He also discusses wilde’s physiognomy as evidence of his noble ancestry and contrasts his appearance with that of Lord Douglas.
The author details the public downfall of Oscar Wilde, including his libel suit against Marquess of Queensbury, his subsequent conviction for gross indecency, and his imprisonment. Mathis asserts that the narrative of wilde being a martyr for gay rights is a falsification, emphasizing the evidence of statutory rape. He critiques the 1997 film “Wilde” for misrepresenting historical facts.
Mathis suggests that wilde’s arrest and subsequent ruin might have been staged by British Intelligence to protect him from a worse fate, citing inconsistencies in the accounts of his bankruptcy and imprisonment. He points to the judge in wilde’s sodomy trial, Sir Alfred Wills, as a potential cousin, and wilde’s prison number, C33, as a signal of a fake event. The author also analyzes “The Ballad of Reading Gaol” as a possible setup.
Mathis discusses wilde’s assumed name, Sebastian Melmoth, and its connection to the character in Charles Maturin’s novel “Melmoth the Wanderer,” suggesting it signifies a Jewish agent. He proposes that wilde’s death in Paris was faked and that he may have been moved to the US with Percy Douglas. The author concludes by suggesting that the feud involving Marquess of Queensbury was deeper than publicly known and involved British Intelligence.
The paper also briefly touches upon Cameron Crowe’s perceived resemblance to Oscar Wilde and a potential genealogical link. Furthermore, Mathis criticizes a MSNBC segment comparing Tucker Carlson to the Marquess of Queensbury and promoting Oscar Wilde as a great artist, dismissing wilde’s work and Lawrence O’Donnell’s arguments as propaganda and misrepresentations.
Finally, Mathis re-examines “The Importance of Being Earnest,” calling it “depravity” and a “gay double-entendre,” and critiques the 2002 film adaptation for further embellishments and misinterpretations. He argues that wilde’s humor is forced and that his work promotes a “Phoenician brand of humor” characterized by cruelty and shallowness.
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This paper, “Oscar’s Wilde’s Genealogy is Garbage,” by Miles Mathis, asserts that Oscar Wilde’s purported genealogy and literary output are flawed. The author claims mainstream genealogy is untrustworthy and suggests that wilde’s family tree has been intentionally obscured. Mathis scrutinizes wilde’s maternal lineage, focusing on names like Jane Elgee, Francesca, Isola, and Cadwallader Waddy, arguing they point to nobility rather than laborers. He connects wilde’s maternal lines to prominent families such as the Pallisers, Franklands, and potentially Ben Franklin.
The paper then delves into wilde’s paternal side, suggesting his father was not from a humble background, citing his status as a knight and doctor. Mathis proposes wilde was distantly related to Thomas Wilde, 1st Baron Truro, and through him, to Augustus Hanover, son of George III, and ultimately to Stanley, 7th Earl of Derby. He also links wilde’s paternal line to George Washington and Jim Morrison through Thomas Montague Morrison Wilde. The author criticizes the genealogical record’s obfuscation of wilde’s ancestors, particularly the paternal side.
Mathis argues that wilde’s association with the Masonic Lodge at Oxford University and his supposed Catholicism are fabrications. He contends that wilde was a “Phoenician/crypto-Jew.” The author criticizes wilde’s early career, particularly his lecture tour in the US, and his involvement in politics, specifically signing a petition for the Haymarket Affair anarchists. Mathis also challenges the narrative of wilde’s sexuality, suggesting it was not a late development.
The paper criticizes wilde’s professional appointments at the Pall Mall Gazette and Lady’s World (later Woman’s World), attributing them to connections rather than merit, and links Sir Thomas Weymss Reid, wilde’s employer at Lady’s World, to banking families like Barings Bank and Barclays Bank. Mathis then analyzes wilde’s literary works, including “The Happy Prince and Other Tales,” “The Selfish Giant,” and “The Decay of Lying,” arguing that wilde manipulated his work for commercial gain and promoted deceptive ideas about art and truth. He contrasts wilde’s philosophy with that of Whistler and Tolstoy.
Mathis extends his critique to the pervasive influence of wilde’s ideas on contemporary culture, particularly the notion that “reality is an illusion,” which he attributes to Phoenicians and links to figures like Jordan Peterson and Tucker Carlson. He associates wilde’s aesthetic theories with the aims of the Fabian Society. The author also dissects wilde’s essay “The Critic as Artist,” arguing that wilde sought to elevate critics over artists and that this trend has led to the degradation of art. He connects this to George Orwell’s ideas about artists.
The paper highlights Whistler as a figure of admiration and a defender of true art, contrasting him with wilde. Mathis speculates about wilde’s family connections to Whistler through the Abbott and McNeil families. He also discusses wilde’s physiognomy as evidence of his noble ancestry and contrasts his appearance with that of Lord Douglas.
The author details the public downfall of Oscar Wilde, including his libel suit against Marquess of Queensbury, his subsequent conviction for gross indecency, and his imprisonment. Mathis asserts that the narrative of wilde being a martyr for gay rights is a falsification, emphasizing the evidence of statutory rape. He critiques the 1997 film “Wilde” for misrepresenting historical facts.
Mathis suggests that wilde’s arrest and subsequent ruin might have been staged by British Intelligence to protect him from a worse fate, citing inconsistencies in the accounts of his bankruptcy and imprisonment. He points to the judge in wilde’s sodomy trial, Sir Alfred Wills, as a potential cousin, and wilde’s prison number, C33, as a signal of a fake event. The author also analyzes “The Ballad of Reading Gaol” as a possible setup.
Mathis discusses wilde’s assumed name, Sebastian Melmoth, and its connection to the character in Charles Maturin’s novel “Melmoth the Wanderer,” suggesting it signifies a Jewish agent. He proposes that wilde’s death in Paris was faked and that he may have been moved to the US with Percy Douglas. The author concludes by suggesting that the feud involving Marquess of Queensbury was deeper than publicly known and involved British Intelligence.
The paper also briefly touches upon Cameron Crowe’s perceived resemblance to Oscar Wilde and a potential genealogical link. Furthermore, Mathis criticizes a MSNBC segment comparing Tucker Carlson to the Marquess of Queensbury and promoting Oscar Wilde as a great artist, dismissing wilde’s work and Lawrence O’Donnell’s arguments as propaganda and misrepresentations.
Finally, Mathis re-examines “The Importance of Being Earnest,” calling it “depravity” and a “gay double-entendre,” and critiques the 2002 film adaptation for further embellishments and misinterpretations. He argues that wilde’s humor is forced and that his work promotes a “Phoenician brand of humor” characterized by cruelty and shallowness.