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Cover of A House of Pomegranates by Oscar Wilde

A House of Pomegranates

by Oscar Wilde

Four darker literary fairy tales about sacrifice, beauty, art, poverty, and the harm done when one life is valued above another.

Published
1891
Setting
Shelf rating
4.2

About Oscar Wilde

Illustrated portrait of Oscar Wilde

The story, briefly

Spoiler-free

Oscar Wilde's second book of literary fairy tales, published in November 1891 as a companion volume to The Happy Prince and Other Tales but written for older readers. Four long stories — The Young King, The Birthday of the Infanta, The Fisherman and His Soul, The Star-Child — put beautiful objects and royal settings around characters forced, one after another, to see the human cost paid for their comfort or their coronation robes.

The story, in more detail

Wilde dedicated the book to his wife Constance, and dedicated each of the four tales separately to a different woman — Margaret Elizabeth Sackville-West, Mrs William H. Grenfell, H.S.H. Alice, Princess of Monaco, and Miss Margot Tennant. The first edition was designed and illustrated by Charles Ricketts and Charles Shannon, who made the physical book — its ornate binding, its capital letters and endpapers — part of its argument about beauty and the labour behind it.

The tales are harsher than the earlier Happy Prince collection and more elaborate in their language. Reviewers who expected another children's book were troubled; Wilde replied in a public letter to The Speaker in December 1891 that the tales were meant for readers of any age with a taste for what he called 'delicate ornamental fantasy.' The book failed commercially in his lifetime and now sits, quietly, in the direct line between Hans Christian Andersen and every later fable that takes its cruelty seriously.

Each story stages the same recognition in a different key: a coronation robe woven by dying weavers, a court dwarf who dies of self-knowledge, a fisherman who cuts loose his soul for a love the church cannot approve, and a proud beautiful child who denies his own mother at the door. What varies is how the recognition arrives, whether it arrives in time, and what the world does to the person who has it.

The stories

The Young King. A shepherd boy who has been living with a goatherd is revealed to be the dying king's illegitimate grandson and brought to the palace to prepare for his coronation. Sensitive to beauty, he commissions elaborate coronation robes — spun gold, rubies from a mine, pearls dived for at sea. On the night before the ceremony he dreams three dreams: the weavers dying at their looms to make the robe, a boy drowning at the end of a diving rope to fetch a single pearl, and enslaved men killed by fever in the ruby mine. He wakes and refuses to wear the robes, going to his coronation in his shepherd's rags and a crown of briars.

The Birthday of the Infanta. The twelve-year-old daughter of the King of Spain is celebrating her birthday at court. The entertainments include a dwarf brought from the forest, whom the courtiers have taught to dance. The Infanta throws him a white rose. He runs into the empty palace looking for her and passes a mirror for the first time in his life. Realising he is ugly and grotesque, and that everyone in the garden had been laughing at him, he dies of a broken heart. The Infanta, told of his death, tells her attendants that in future those who come to play with her must have no hearts.

The Fisherman and His Soul. A young fisherman catches a Mermaid in his nets and releases her in exchange for her singing over his boat. He falls in love with her, and to be with her he agrees to send away his Soul, which she cannot love. The Priest denounces him; a Witch on the mountain performs the ritual that separates them. Each year the Soul returns to the shore and tries to tempt him back with tales of wisdom, then wealth, then the beauty of a dancing girl. The third temptation works. When he finds his Mermaid dead in the tide, his heart breaks with hers. Strange flowers grow from his grave, and the Priest — who had refused to bury him in the churchyard — is left to reconsider what he had condemned.

The Star-Child. Two woodcutters find a golden-starred baby wrapped in a cloak in a snowdrift. One takes him home. The Star-Child grows up strikingly beautiful and utterly cruel — mocking the poor, torturing small animals, driving out a leprous beggar-woman who claims to be his mother. He is instantly disfigured into a toad-like ugliness and cast out of the village. He wanders for years searching for the woman he denied, doing penance. In a distant city he is enslaved by a Magician, refuses to steal for him, and finally rescues a leper who is the disguised king of the land. His mother appears, he embraces her, and she and the leper reveal themselves as the king and queen of that country. His beauty is restored; he rules justly, and dies after three years.

Themes and analysis

These readings discuss events throughout the book, including its ending.

The coronation garments refused

Each dream in “The Young King” returns the suffering of strangers to something made for his coronation. The mirror at the ruby mine makes that relation explicit: he sees himself as the beneficiary, not merely a compassionate witness. His refusal therefore breaks with his own appetite for beautiful things. Yet Wilde complicates the gesture when a man in the crowd argues that the poor depend on wealthy buyers. Rejecting the garments does not by itself answer that dependence. The final transformation of staff and briars offers beauty without the dreamed exploitation, vindicating the boy's refusal through a miracle rather than showing how the kingdom's ordinary labor could be reorganized.

After dreaming of the workers who suffer to make his coronation finery, the Young King appears in shepherd’s clothes with a crown of briars. An imagined scene from Wilde’s tale. (Illustration — The Paris Atlas)

The Fisherman parts from his Soul

The Fisherman does not drive out a visible monster: the shadow he cuts away rises as his own double. Before the separation, the Soul asks for a heart to protect it against the world's cruelty, but he reserves his heart for the Mermaid. Love for one being thus accompanies a refusal of mercy toward another. The Soul's later account of learning evil without a heart recalls that original exclusion. Its explanation need not excuse the violence it encourages; it makes the division harder to treat as innocent body against corrupt spirit. When the Fisherman cannot cut the Soul away a second time, disowning part of himself is no longer an available escape.

To join the Mermaid, the Fisherman sends away his personified Soul, beginning the tale’s cycle of separation, temptation and return. A symbolic illustration. (Illustration — The Paris Atlas)

Why we recommend it

  1. Why it matters

    It is Wilde's second fairy-tale book and the more grown-up one — the collection where the ornate style stops being decoration and becomes the argument.

  2. Where it fits

    Read The Happy Prince and Other Tales first for the same author in a warmer, simpler key, then this for the sharper version.

  3. What lingers

    The Fisherman and His Soul is one of the strangest and most beautiful stories Wilde ever wrote — a fifteen-thousand-word fairy tale of a young man giving up his soul for a mermaid, and being tempted back by that soul across three years and three visits. Nothing in his shorter fiction reaches it.

What this book explores

The people in its pages

The book's cast, story by story. None of the four tales names its central character — the Young King, the Infanta, the Fisherman, the Star-Child are all archetypes rather than individuals. The dedications, however, name real women: Wilde dedicated each story separately, alongside a general dedication to his wife Constance.

  • Illustrated portrait of The Young King

    The Young King

    The unnamed sixteen-year-old shepherd whose royal descent is discovered a year before his coronation. His three dreams of weavers, divers, and miners dying to make his crown and robes force him to refuse the ceremony they were made for.

  • Illustrated portrait of The Infanta

    The Infanta

    The twelve-year-old daughter of the King of Spain — small, doll-like, indulged, and, by the end of the story, coldly cruel. Wilde does not decide whether her cruelty is her own or the court's, and does not tell the reader which reading is right.

  • Illustrated portrait of The Dwarf

    The Dwarf

    The forest child brought to court to dance for the Infanta's birthday, without warning about what a mirror would show him. Wilde gives him the story's only moment of true joy, and then the room in which he learns he cannot have it.

  • Illustrated portrait of The Fisherman

    The Fisherman

    A young man who falls in love with a Mermaid he has caught in his nets and sends his own Soul away to be able to live with her. Three temptations later, he is on the shore with her body in his arms.

  • Illustrated portrait of The Little Mermaid

    The Little Mermaid

    The sea-woman the Fisherman catches and cannot let go — because she sings from the tide each night, and because she cannot love a body that carries a human soul.

  • Illustrated portrait of The Soul

    The Soul

    The Fisherman's Soul, personified and cast off after the Witch's ritual. Returns every year with three temptations — wisdom, wealth, and the beauty of a dancing girl — while the Fisherman waits by the sea for the Mermaid.

  • Illustrated portrait of The Star-Child

    The Star-Child

    The beautiful, star-marked boy found in a woodcutter's snowdrift and raised as his own. Cruel until the beggar-woman at his door proves to be his mother; ugly and disfigured until years of penance and one act of kindness undo it.

Also in the book

  • Illustrated portrait of The Beggar-Woman

    The Beggar-Woman

    The leprous stranger who arrives at the Star-Child's door claiming to be his mother, is refused, and is later revealed — with the story's leper — as the queen of a distant land.

  • Illustrated portrait of The Leper

    The Leper

    The masked, disfigured king who watches over the Star-Child's penance without revealing himself. His identity is disclosed only when the Star-Child, at last, chooses mercy over gain.

Bring it to book club

  • The Young King and the Star-Child both refuse what wealth requires and are restored at the end. How do their two answers differ, and does one feel earned in a way the other does not?
  • Which of the four tales feels harshest, and why? Wilde's contemporaries said The Birthday of the Infanta; readers today often name The Fisherman and His Soul.
  • The Fisherman separates a body from its soul. What does Wilde suggest by giving the Soul the ability to travel and describe wonders while the body waits by the sea?
  • The Infanta is twelve years old and coldly cruel by the last page. Is the story about her, or about the court that raised her that way?

A complete discussion guide is on our editorial calendar. Join the letter to hear when it ships.

Timeline

  1. 1888

    The Happy Prince and Other Tales, Wilde's first fairy-tale book, appears from David Nutt in London.

  2. 1889–1891

    Wilde writes the four long tales that will make up A House of Pomegranates, publishing 'The Young King' and 'The Birthday of the Infanta' first in periodicals.

  3. November 1891

    James R. Osgood, McIlvaine and Company publish A House of Pomegranates in London, designed and illustrated by Charles Ricketts and Charles Shannon, dedicated to Constance Wilde.

  4. December 1891

    Wilde replies in a public letter to The Speaker to reviewers who had complained the book was too elaborate for children, arguing it was not written for them.

  5. 1892

    Copeland & Day publish the first American edition in Boston.

  6. Modern editions

    The tales continue to be printed in Wilde's collected works and in stand-alone illustrated editions; scholarly editions restore Ricketts and Shannon's original layout.

Book editions

Hardcover
Hardcover
James R. Osgood, McIlvaine and Company
1891
James R. Osgood, McIlvaine and Company published A House of Pomegranates in London in November 1891, designed and illustrated by Charles Ricketts and Charles Shannon. Copeland & Day published the first American edition in Boston in 1892.

Reader reviews

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Recommended alongside Fairy Tales Told for Children: Second Booklet.

A House of Pomegranates: frequently asked questions

What is A House of Pomegranates about?

Oscar Wilde's second book of literary fairy tales, published in November 1891 as a companion volume to The Happy Prince and Other Tales. The four stories — The Young King, The Birthday of the Infanta, The Fisherman and His Soul, and The Star-Child — put beautiful objects and royal settings around characters who are forced to see the human cost of their own privilege. It is the harsher, more grown-up of Wilde's two fairy-tale books.

Which stories are in A House of Pomegranates?

Four long tales, in the order Wilde arranged them: The Young King (a shepherd boy who refuses his coronation robes after dreaming of the people dying to make them), The Birthday of the Infanta (a Spanish princess whose court has taught a forest child to dance for her, and who discovers he has died of a broken heart), The Fisherman and His Soul (a young man who sends his own Soul away to live with a mermaid), and The Star-Child (a beautiful cruel boy who denies his mother at the door and must spend years finding her again).

When was A House of Pomegranates published?

London publisher James R. Osgood, McIlvaine and Company brought the first edition out in November 1891, designed and illustrated by Charles Ricketts and Charles Shannon. Copeland & Day published the first American edition in Boston in 1892.

How is A House of Pomegranates different from The Happy Prince and Other Tales?

The Happy Prince and Other Tales (1888) was written to be read to children; A House of Pomegranates was not. The four tales here are longer, more elaborate in language, and unrelieved by the earlier collection's warmth. Wilde replied to critics who complained about that difference in a public letter to The Speaker in December 1891, saying the tales were meant for anyone with a taste for what he called 'delicate ornamental fantasy.'

Are Wilde's fairy tales meant for children?

The Happy Prince stories are; A House of Pomegranates is not. The four tales here contain suicide, enslaved labour, torture of animals, and a child's death from a broken heart, and are told in a decorated prose that expects a patient reader. Adults find the harshness lands; children usually find the sentences too long.

Who illustrated the first edition?

Charles Ricketts and Charles Shannon — the London artists and typographers whose Vale Press was one of the finest small British presses of the 1890s. Their design of the book, including its binding, capital letters, and full-page illustrations, was made to serve as part of the book's meaning, not decoration attached to it.

To whom is A House of Pomegranates dedicated?

The book's general dedication is to Constance Wilde, Oscar Wilde's wife. Each of the four tales carries its own dedication: The Young King to Margaret Elizabeth Sackville-West, later Lady Sackville; The Birthday of the Infanta to Mrs William H. Grenfell (Ettie Grenfell, later Lady Desborough); The Fisherman and His Soul to H.S.H. Alice, Princess of Monaco; The Star-Child to Miss Margot Tennant, later Margot Asquith.

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References

References

The sources below include the primary text, editions, scholarship, archival materials, and other records that informed this page. They document A House of Pomegranates, its publication, and its place in literary history.

  1. 1A House of Pomegranates

    Novel
    Oscar Wilde, 1891
    Used for

    The primary text represented by this page, used for descriptions of the work’s contents and for any quoted passages shown here.

  2. 2A House of Pomegranates (1915 Methuen text)

    Website
    Project Gutenberg
    Used for

    Primary text transcribed from the 1915 Methuen edition: The Young King and selected passages from The Fisherman and His Soul. Not a collation of the illustrated first edition.

    View source
  3. 3Works catalogued under Oscar Wilde

    Archive
    Bibliothèque nationale de France
    Used for

    Used to place A House of Pomegranates within Oscar Wilde's published work and verify its bibliographic context.

    View source
  1. 4Oscar Wilde

    Website
    Poetry Foundation
    Used for

    Used for independent biographical, archival, or historical context surrounding Oscar Wilde's career and the period in which A House of Pomegranates appeared.

    View source
  2. 5Wilde, Oscar (1854–1900)

    Official record
    Bibliothèque nationale de France
    Used for

    Used to cross-check authorship, chronology, and the work's place in Oscar Wilde's wider catalogue.

    View source
  3. 6Making Oscar Wilde

    Website
    Faculty of English, University of Oxford
    Used for

    Used to verify Oscar Wilde's bibliography and place A House of Pomegranates within the broader chronology of Oscar Wilde's career.

    View source
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Why these sources are here

The primary text is the baseline reference for every book page. Additional references document publication history, interpretation, and historical context where that evidence is available.

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