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Read an in-depth analysis of Cecily Cardew. The two major confrontations at the end of Act 2, between Cecily and Gwendolen and between Jack and Algernon, are both rooted in the fictions all four characters have created, believed, or perpetuated.
Jack and Algernon’s carefully crafted cover stories and fake identities unravel, as Cecily and Gwendolen believe themselves to be engaged to the same man. Mistaken identities motivate their emerging jealousies.
Algernon has two reasons for suspecting Ernest's identity, and they reveal his use of both deductive and inductive logic.
Algernon. Do you really keep a diary? I’d give anything to look at it. May I? Cecily. Oh no. [Puts her hand over it.] You see, it is simply a very young girl’s record of her own thoughts and impressions, and consequently meant for publication. When it appears in volume form I hope you will order a copy. But pray, Ernest, don’t stop.
I’ll bet you anything you like that half an hour after they have met, they will be calling each other sister. ALGERNON Women only do that when they have called each other a lot of other things ...
Earlier in the act, Algernon referred to the ringing of the doorbell as Wagnerian, referring to the German composer. Here, Wilde builds on the theme of music established in Algernon's offhand remark and in Lady Bracknell's discussion of French songs by having Gwendolen speak of the music of names.
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This emphasizes both Lady Bracknell's characteristic impatience and Jack's similarities with Algernon, who, as the inventor of Bunburyism, is the source of the indecision Jack's being accused of here. [16] —Sinead, Owl Eyes Contributor. Cite this.
