Oscar Wilde’s The Ballad of Reading Gaol is a work of art activism beloved by Banksy

In 2021, Banksy revealed a mural of Oscar Wilde, clad in prisoner garb, making an escape from the abandoned Reading jail. The artist claimed that he would donate profits from the sale of the stencil he used to create the work (a projected £10 million) to set up an arts hub in the Grade II listed building.

This hasn’t yet taken place, but speaking about the work at the time, Banksy dubbed Wilde “the patron saint of smashing two contrasting ideas together to create magic. Converting the place that destroyed him into a refuge for art feels so perfect we have to do it.”

In 1895, Wilde was sentenced to two years of hard labour for “gross indecency” after being convicted of “homosexual acts”. He was posthumously pardoned in 2017 under the Turing Law.

The Ballad of Reading Gaol, which he wrote two years after his release, hypnotically details the psychological and physical horrors of living in isolation in unsanitary single-cells for 23 hours a day.

It also reveals the mind-numbing conditions and physically exhausting jobs that were relentlessly inflicted on prisoners in Wilde’s day. They were required to ascend 56 steps a minute for nine hours a day on a treadmill, break stones and pick oakum (fibres from the ropes used on ships). And to do so in complete silence.

This article is part of Rethinking the Classics. The stories in this series offer insightful new ways to think about and interpret classic books and artworks. This is the canon – with a twist.

In the poem, Wilde details the intense surveillance techniques and harsh punishments adopted by the prison wardens against the “outcast men”.

“Like ape or clown, in monstrous garb,” he writes, the inmates silently trudge the prison yard in their one allotted hour of exercise per day. The poem focuses on one prisoner in particular, named only as CTW, who is sentenced to death for murdering his wife. It traces his walk to the “hideous” shed where he is to be executed, which ghoulishly sees him “cross his own coffin”.

More gothic images abound. CTW’s impending burial in an unhallowed and anonymous grave is described as “with yawning mouth the horrid hole / Gaped for a living thing” while “the very mud cried out for blood”.

Wilde also references a scene from Coleridge’s 1797 masterpiece The Rime of the Ancient Mariner as he envisions phantoms dancing a “grisly masque” in which they sing of inexorable triumph of sin in prison, “the Secret House of Shame”.

Moreover, Wilde denies that the sacrifice that CTW has offered to the prison with his execution is ultimately redemptive for him as:

He did not pass in purple pomp

Nor ride a moon-white steed

Three yards of cord and a sliding board

Are all the gallows need.

In the ballad, Wilde represents the prison experience as sadistic and unrelenting. Much like Banksy over a century later, Wilde used the degree of anonymity the poem afforded (he published it under his cell number, C33) to berate an inhumane society and the distressing penal policy of “hard labour, hard fare, hard board” that he was forced to endure.

The Ballad of Reading Gaol can ultimately be read as a celebration of compassion, resilience and art activism. Through the poem and letters he wrote to the Daily Chronicle, Wilde publicly attempted to “try and change [prison life] for others”.

Despite Wilde’s public notoriety, Irish MPs Michael Davitt and T.P. O’Connor even went as far as to quote the ballad in parliamentary debates, which led to the adoption of some of the recommendations that Wilde had made in his letters in the 1898 Prison Reform Act.

Although Wilde, himself, was to suffer the psychological and physical effects of his imprisonment until the end of his short life two years later, the 1898 Act saw the treadmill abolished, ensured solitary confinement could only be used for a maximum of 28 days and children were separated from adult prisoners. And yet, sadly, Wilde’s description of “the foul and dark latrine” of “humanity’s machine” continues to reverberate today.

On August 22 2024, “independent monitors” into the conditions at Wandsworth Prison (where Wilde was briefly held) found it to be “crumbling, overcrowded and vermin-infested, with inmates living in half the cell space available when it was first opened in 1851”.

While Wilde’s “swan song” joins with Banksy’s escaped prisoner to expose the failings of modern penal practices, it also reminds us of the enduring power of art and imagination to foster change.

Beyond the canon

As part of the Rethinking the Classics series, we’re asking our experts to recommend a book or artwork that tackles similar themes to the canonical work in question, but isn’t (yet) considered a classic itself. Here is Sondeep Kandola’s suggestion:

If you are looking for further reading on the topic of prison life and the prison experience, Andy West’s memoir The Life Inside (2022) offers a sobering and often witty reflection on living in the carceral state today. A philosophy teacher in prison, West explores the notion of freedom, redemption and our broken prison system.

You might also be interested to read Brendan Behan’s powerful 1958 autobiography Borstal Boy and Bobby Sands’ courageous Writings from Prison (2020), two incarcerated Irish writers who shared Wilde’s republican sympathies and similarly questioned the ethics and integrity of the British government who imprisoned them.

Sondeep Kandola does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.