The Model Millionaire by Oscar Wilde

The Model Millionaire

by Oscar Wilde 

Unless one is wealthy there is no use in being a charming fellow. Romance is the privilege of the rich, not the profession of the unemployed. The poor should be practical and prosaic. It is better to have a permanent income than to be fascinating. These are the great truths of modern life which Hughie Erskine never realised. Poor Hughie! Intellectually, we must admit, he was not of much importance. He never said a brilliant or even an ill-natured thing in his life. But then he was wonderfully good-looking, with his crisp brown hair, his clear-cut profile, and his grey eyes. He was as popular with  men as he was with women and he had every accomplishment except that of making money. His father had bequeathed him his cavalry sword and a History of the Peninsular War in fifteen volumes. Hughie hung the first over his looking-glass, put the second on a shelf between Ruff’s Guide and Bailey’s Magazine, and lived on two hundred a year that an old aunt allowed him. He had tried everything. He had gone on the Stock Exchange for six months; but what was a butterfly to do among bulls and bears? He had been a tea-merchant for a little longer, but had soon tired of pekoe and souchong. Then he had tried selling dry sherry. That did not answer; the sherry was a little too dry. Ultimately he became nothing, a delightful, ineffectual young man with a perfect profile and no profession.

To make matters worse, he was in love. The girl he loved was Laura Merton, the daughter of a retired Colonel who had lost his temper and his digestion in India, and had never found either of them again. Laura adored him, and he was ready to kiss her shoe-strings. They were the handsomest couple in London, and had not a penny-piece between them. The Colonel was very fond of Hughie, but would not hear of any engagement.

‘Come to me, my boy, when you have got ten thousand pounds of your own, and we will see about it,’ he used to say; and Hughie looked very glum in those days, and had to go to Laura for consolation.

One morning, as he was on his way to Holland Park, where the Mertons lived, he dropped in to see a great friend of his, Alan Trevor. Trevor was a painter. Indeed, few people escape that nowadays. But he was also an artist, and artists are rather rare. Personally he was a strange rough fellow, with a freckled face and a red ragged beard. However, when he took up the brush he was a real master, and his pictures were eagerly sought after. He had been very much attracted by Hughie at first, it must be acknowledged, entirely on account of his personal charm. ‘The only people a painter should know,’ he used to say, ‘are people who are bête and beautiful, people who are an artistic pleasure to look at and an intellectual repose to talk to.  Men who are dandies and women who are darlings rule the world, at least they should do so.’ However, after he got to know Hughie better, he liked him quite as much for his bright, buoyant spirits and his generous, reckless nature, and had given him the permanent entrée to his studio. VisualArt & Design

When Hughie came in he found Trevor putting the finishing touches to a wonderful life-size picture of a beggar-man. The beggar himself was standing on a raised platform in a corner of the studio. He was a wizened old man, with a face like wrinkled parchment, and a most piteous expression. Over his shoulders was flung a coarse brown cloak, all tears and tatters; his thick boots were patched and cobbled, and with one hand he leant on a rough stick, while with the other he held out his battered hat for alms.

‘What an amazing model!’ whispered Hughie, as he shook hands with his friend.

‘An amazing model?’ shouted Trevor at the top of his voice; ‘I should think so! Such beggars as he are not to be met with every day. A trouvaille, mon cher; a living Velasquez! My stars! what an etching Rembrandt would have made of him!’

‘Poor old chap!’ said Hughie, ‘how miserable he looks! But I suppose, to you  painters, his face is his fortune?’

‘Certainly,’ replied Trevor, ‘you don’t want a beggar to look happy, do you?’

‘How much does a model get for sitting?’ asked Hughie, as he found himself a comfortable seat on a divan.

‘A shilling an hour.’

‘And how much do you get for your picture, Alan?’

‘Oh, for this I get two thousand!’

‘Pounds?’

‘Guineas.  Painters, poets, and physicians always get guineas.’ Painting

‘Well, I think the model should have a percentage,’ cried Hughie, laughing; ‘they work quite as hard as you do.’

‘Nonsense, nonsense! Why, look at the trouble of laying on the paint alone, and standing all day long at one’s easel! It’s all very well, Hughie, for you to talk, but I assure you that there are moments when Art almost attains to the dignity of manual labour. But you mustn’t chatter; I’m very busy. Smoke a cigarette, and keep quiet.’

After some time the servant came in, and told Trevor that the framemaker wanted to speak to him.

‘Don’t run away, Hughie,’ he said, as he went out, ‘I will be back in a moment.’

The old beggar-man took advantage of Trevor’s absence to rest for a moment on a wooden bench that was behind him. He looked so forlorn and wretched that Hughie could not help pitying him, and felt in his pockets to see what money he had. All he could find was a sovereign and some coppers. ‘Poor old fellow,’ he thought to himself, ‘he wants it more than I do, but it means no hansoms for a fortnight’; and he walked across the studio and slipped the sovereign into the beggar’s hand.

The old man started, and a faint smile flitted across his withered lips. ‘Thank you, sir,’ he said, ‘thank you.’

Then Trevor arrived, and Hughie took his leave, blushing a little at what he had done. He spent the day with Laura, got a charming scolding for his extravagance, and had to walk home.

That night he strolled into the Palette Club about eleven o’clock, and found Trevor sitting by himself in the smoking-room drinking hock and seltzer.

‘Well, Alan, did you get the picture finished all right?’ he said, as he lit his cigarette. Movies

‘Finished and framed, my boy!’ answered Trevor; ‘and, by the bye, you have made a conquest. That old model you saw is quite devoted to you. I had to tell him all about you - who you are, where you live, what your income is, what prospects you have - ’

‘My dear Alan,’ cried Hughie, ‘I shall probably find him waiting for me when I go home. But of course you are only joking. Poor old wretch! I wish I could do something for him. I think it is dreadful that any one should be so miserable. I have got heaps of old clothes at home - do you think he would care for any of them? Why, his rags were falling to bits.’

‘But he looks splendid in them,’ said Trevor. ‘I wouldn’t paint him in a frock coat for anything.

What you call rags I call romance. What seems poverty to you is picturesqueness to me. However, I’ll tell him of your offer.’

‘Alan,’ said Hughie seriously, ‘you painters are a heartless lot.’

‘An artist’s heart is his head,’ replied Trevor; ‘and besides, our business is to realise the world as we see it, not to reform it as we know it. À chacun son métier. And now tell me how Laura is. The old model was quite interested in her.’

‘You don’t mean to say you talked to him about her?’ said Hughie.

‘Certainly I did. He knows all about the relentless colonel, the lovely Laura, and the £10,000.’

‘You told that old beggar all my private affairs?’ cried Hughie, looking very red and angry.

‘My dear boy,’ said Trevor, smiling, ‘that old beggar, as you call him, is one of the richest men in Europe. He could buy all London to-morrow without overdrawing his account. He has a house in every capital, dines off gold plate, and can prevent Russia going to war when he chooses.’

‘What on earth do you mean?’ exclaimed Hughie.

‘What I say,’ said Trevor. ‘The old man you saw to-day in the studio was Baron Hausberg. He is a great friend of mine, buys all my pictures and that sort of thing, and gave me a commission a month ago to paint him as a beggar. Que voulez-vous? La fantaisie d’un millionnaire! And I must say he made a magnificent figure in his rags, or perhaps I should say in my rags; they are an old suit I got in Spain.’

‘Baron Hausberg!’ cried Hughie. ‘Good heavens! I gave him a sovereign!’ and he sank into an armchair the picture of dismay.

‘Gave him a sovereign!’ shouted Trevor, and he burst into a roar of laughter. ‘My dear boy, you’ll never see it again. Son affaire c’est l’argent des autres.’

‘I think you might have told me, Alan,’ said Hughie sulkily, ‘and not have let me make such a fool of myself.’

‘Well, to begin with, Hughie,’ said Trevor, ‘it never entered my mind that you went about distributing alms in that reckless way. I can understand your kissing a pretty model, but your giving a sovereign to an ugly one - by Jove, no! Besides, the fact is that I really was not at home to-day to any one; and when you came in I didn’t know whether Hausberg would like his name mentioned. You know he wasn’t in full dress.’

‘What a duffer he must think me!’ said Hughie.

‘Not at all. He was in the highest spirits after you left; kept chuckling to himself and rubbing his old wrinkled hands together. I couldn’t make out why he was so interested to know all about you; but I see it all now. He’ll invest your sovereign for you, Hughie, pay you the interest every six months, and have a capital story to tell after dinner.’

‘I am an unlucky devil,’ growled Hughie. ‘The best thing I can do is to go to bed; and, my dear Alan, you mustn’t tell any one. I shouldn’t dare show my face in the Row.’

‘Nonsense! It reflects the highest credit on your philanthropic spirit, Hughie. And don’t run away. Have another cigarette, and you can talk about Laura as much as you like.’

However, Hughie wouldn’t stop, but walked home, feeling very unhappy, and leaving Alan Trevor in fits of laughter.

The next morning, as he was at breakfast, the servant brought him up a card on which was written, ‘Monsieur Gustave Naudin, de la part de M. le Baron Hausberg.

‘I suppose he has come for an apology,’ said Hughie to himself; and he told the servant to show the visitor up.

An old gentleman with gold spectacles and grey hair came into the room, and said, in a slight French accent, ‘Have I the honour of addressing Monsieur Erskine?’

Hughie bowed.

‘I have come from Baron Hausberg,’ he continued. ‘The Baron - ’

‘I beg, sir, that you will offer him my sincerest apologies,’ stammered Hughie.

‘The Baron,’ said the old gentleman with a smile, ‘has commissioned me to bring you this letter’; and he extended a sealed envelope.

On the outside was written, ‘A wedding present to Hugh Erskine and Laura Merton, from an old beggar,’ and inside was a cheque for £10,000.

When they were married Alan Trevor was the best man, and the Baron made a speech at the wedding breakfast.

‘Millionaire models,’ remarked Alan, ‘are rare enough; but, by Jove, model millionaires are rarer still!’

French Expressions in The Model Millionaire (Explained)

1. "A trouvaille, mon cher!" IPA French Pronunciation /a tʁuvaj mɔ̃ ʃɛʁ/

Meaning: A lucky find, my dear!

Explanation: Alan Trevor uses this expression when speaking about the old beggar as an excellent model for his painting. It reflects his excitement and admiration for finding such a remarkable subject.

2. "À chacun son métier." IPA French Pronunciation /a ʃakœ̃ sɔ̃ metje/

Meaning: To each his own trade or Everyone should stick to his own profession.

Explanation: Alan Trevor says this to suggest that every person has a particular skill or occupation. Artists should paint, businessmen should conduct business, and each individual should excel in their own field.

3. "Que voulez-vous?" IPA French Pronunciation /kə vule vu/

Meaning: What do you expect? or What can one do?

Explanation: This common French expression conveys resignation or acceptance of a situation. It suggests that some circumstances are simply part of life.

4. "La fantaisie d'un millionnaire."  IPA French Pronunciation /la fɑ̃tɛzi dyn miljɔnɛʁ/

Meaning: The whim (or fancy) of a millionaire.

Explanation: Alan Trevor uses this phrase to explain why Baron Hausberg enjoys dressing as a beggar and posing for artists. It highlights the Baron's unusual hobby.

5. "Son affaire, c'est l'argent des autres." IPA French Pronunciation /sɔ̃ nafɛʁ se laʁʒɑ̃ dez‿otʁ/

Meaning: Other people's money is his business.

Explanation: This witty remark refers to Baron Hausberg's financial dealings and immense wealth. It humorously suggests that his profession revolves around managing or making money from the wealth of others.

6. "Monsieur" IPA French Pronunciation /məsjø/

Meaning: Sir or Mister.

Explanation: A polite French form of address used throughout the story.

7. "De la part de..." IPA French Pronunciation /də la paʁ də/

Meaning: On behalf of... or From...

Explanation: Used when the messenger delivers Baron Hausberg's letter to Hughie.

Why does Oscar Wilde use French?

Oscar Wilde deliberately includes French expressions because, during the Victorian period, French was considered the language of culture, art, fashion, and sophistication. Artists, aristocrats, and educated people frequently sprinkled French into their conversations to display refinement and cosmopolitan taste. The French phrases also make Alan Trevor, the painter, sound authentic and reinforce the artistic atmosphere of the story.

The Model Millionaire by Oscar Wilde: Summary

Introduction

The Model Millionaire is one of Oscar Wilde's most popular short stories. It is a delightful tale of kindness, generosity, and the deceptive nature of appearances. Through an unexpected twist, Wilde teaches that true wealth lies not in money but in compassion and a noble heart.

Summary

The story centres on Hughie Erskine, a handsome, cheerful, and kind-hearted young man. Although he possesses an attractive personality, he is poor and has failed in several professions. Hughie is deeply in love with Laura Merton, the daughter of a retired Colonel. Laura also loves Hughie, but her father refuses to allow their marriage until Hughie earns £10,000, an impossible amount for him.

One day, Hughie visits his close friend Alan Trevor, a famous painter. Alan is painting the portrait of an old beggar dressed in ragged clothes. The beggar appears weak, tired, and miserable. Hughie is deeply moved by the old man's condition. Since he has only one sovereign and a few coins in his pocket, he gives the sovereign to the beggar without expecting anything in return.

After Hughie leaves, Alan reveals an astonishing secret. The old beggar is not poor at all. He is Baron Hausberg, one of the richest men in Europe. The Baron has posed as a beggar for the portrait simply because he enjoys modelling for artists. Hughie feels embarrassed that he has unknowingly offered charity to a millionaire.

The following morning, a messenger delivers a sealed envelope to Hughie's house. Inside is a cheque for £10,000 from Baron Hausberg with the message that it is a wedding gift for Hughie and Laura. Hughie's simple act of kindness has been rewarded beyond his imagination.

The story concludes with Hughie marrying Laura, while Alan Trevor humorously remarks that "Millionaire models are rare enough, but model millionaires are rarer still."

Conclusion

The story demonstrates that genuine kindness never goes unnoticed. Oscar Wilde suggests that generosity, compassion, and a noble heart are greater treasures than material wealth. Through humour, irony, and an unexpected ending, he reminds readers never to judge people merely by their appearance.

The Model Millionaire by Oscar Wilde: Critical Appreciation

Introduction

The Model Millionaire is a brilliant short story by Oscar Wilde that combines humour, irony, romance, and moral philosophy. Though simple in structure, it explores timeless themes such as generosity, human dignity, compassion, and the misleading nature of outward appearances.

Plot Construction

The plot is compact, well-organized, and highly engaging. Wilde introduces Hughie Erskine as a poor but kind-hearted young man whose act of charity unexpectedly transforms his life. The surprise revelation that the beggar is actually a millionaire provides an excellent climax, while the generous gift of £10,000 offers a satisfying conclusion.

Characterization

Oscar Wilde creates memorable characters with remarkable economy.

Hughie Erskine represents kindness, innocence, honesty, and selflessness. Although poor, he possesses a generous heart.

Baron Hausberg symbolises true nobility. Despite being one of Europe's richest men, he remains humble, approachable, and generous enough to reward genuine compassion.

Alan Trevor, the artist, provides wit and humour while linking the major events of the story.

Laura Merton and her father illustrate the social realities of Victorian society, where financial security was often considered essential for marriage.

Themes

The story explores several important themes:

The triumph of kindness over wealth

Appearance versus reality

The rewards of generosity

Love and financial insecurity

Human dignity and compassion

The moral value of selfless actions

Literary Devices

Oscar Wilde employs several literary techniques effectively.

Irony forms the backbone of the story. The ragged beggar is actually one of Europe's wealthiest men, while the well-dressed Hughie is financially helpless.

Humour appears naturally through Alan Trevor's witty comments and Wilde's elegant style.

Contrast between poverty and wealth, appearance and reality, creates dramatic impact.

Symbolism is evident in the sovereign, which symbolises genuine generosity because Hughie gives away almost all the money he possesses.

Style

Oscar Wilde's prose is graceful, witty, and remarkably concise. His dialogues are lively and realistic, while his narration remains simple enough for young readers yet sophisticated enough to appeal to adults. His characteristic epigrams add charm without slowing the narrative.

Social Significance

The story gently criticizes a society that judges people according to wealth and social status. Colonel Merton's insistence on financial security before marriage reflects Victorian materialism. Wilde suggests that character deserves greater respect than fortune.

Moral Value

The story teaches that true greatness lies in generosity and compassion rather than riches. Hughie's spontaneous kindness, offered without any hope of reward, ultimately changes his destiny. Wilde reminds readers that good deeds often return in unexpected ways.

Conclusion

The Model Millionaire remains one of Oscar Wilde's finest short stories because it successfully blends entertainment with moral insight. Its engaging plot, memorable characters, sparkling wit, dramatic irony, and universal message continue to inspire readers across generations. The story proves that while millionaire models may indeed be rare, a model millionaire—one who combines immense wealth with genuine humanity—is rarer still.

Character Analysis of The Model Millionaire

The success of The Model Millionaire lies not only in its engaging plot but also in its memorable characters. Oscar Wilde creates a small cast of realistic yet symbolic characters, each contributing to the story's central message that true nobility is found in generosity and compassion rather than wealth.

Hughie Erskine

Hughie Erskine is the protagonist of the story. He is a handsome, cheerful, and warm-hearted young man whose greatest strength is his kindness. Although he is not successful in business and possesses very little money, he never loses his optimistic nature or his concern for others.

Hughie's generosity is revealed when he gives his only sovereign to an old beggar whom he believes to be poor and helpless. This act is entirely spontaneous and selfless. He expects no praise or reward. His compassion demonstrates that true charity comes from the heart rather than from the size of one's fortune.

Despite his poverty, Hughie possesses qualities that money cannot buy—honesty, humility, sympathy, and love. His inability to marry Laura because of his financial condition reflects the social reality that wealth often determines one's opportunities. However, his noble character ultimately brings him unexpected happiness.

Hughie symbolizes the idea that a person's real wealth lies in goodness, generosity, and humanity rather than in material possessions.

Baron Hausberg

Baron Hausberg is one of the richest men in Europe, yet he appears in the story disguised as a poor old beggar. This striking contrast between appearance and reality makes him one of Oscar Wilde's most memorable characters.

Unlike many wealthy people, Baron Hausberg is humble, approachable, and kind-hearted. He appreciates Hughie's genuine generosity because he understands that the gift was offered without any expectation of recognition or reward. Instead of feeling insulted by Hughie's charity, he admires his compassion and decides to reward him with a cheque for £10,000 as a wedding gift.

The Baron proves that immense wealth can be accompanied by humility and generosity. His actions challenge the common belief that rich people are selfish or indifferent to the suffering of others.

Baron Hausberg represents true nobility, benevolence, and the responsible use of wealth for the happiness of others.

Alan Trevor

Alan Trevor is Hughie's close friend and a talented artist. He is intelligent, witty, practical, and deeply devoted to his profession. Although his humorous remarks often make readers smile, he plays an essential role in advancing the story.

Alan introduces Hughie to Baron Hausberg and later reveals the beggar's true identity. His famous observation at the end—"Millionaire models are rare enough, but model millionaires are rarer still"—captures the central idea of the story with characteristic Oscar Wilde wit.

Alan represents the artistic world and serves as the link between Hughie's generosity and Baron Hausberg's gratitude. His lively conversation also adds humour and charm to the narrative.

Laura Merton

Laura Merton is Hughie's beloved. She is affectionate, loyal, and sincerely devoted to him despite his poverty. She values Hughie's character more than his financial condition and patiently waits for the obstacle to their marriage to be removed.

Although Laura does not appear frequently, she symbolizes faithful love and emotional support. Her relationship with Hughie highlights the conflict between love and financial security in Victorian society.

Colonel Merton

Colonel Merton, Laura's father, is a practical and disciplined man. He does not oppose Hughie because of his personality but because of his lack of financial stability. He insists that Hughie must possess £10,000 before marrying Laura.

His attitude reflects the social values of Victorian England, where financial security was considered essential for marriage. Although his condition appears harsh, it is based on practical considerations rather than personal prejudice.

Colonel Merton represents society's belief that economic stability is necessary for a successful married life.

Conclusion

Oscar Wilde develops a small but perfectly balanced group of characters, each representing a different aspect of human nature. Hughie symbolizes kindness and selflessness; Baron Hausberg represents generosity combined with wealth; Alan Trevor contributes humour and wisdom; Laura stands for faithful love; and Colonel Merton reflects society's practical outlook. Together, these characters convey the timeless message that compassion and humanity are the greatest riches a person can possess.

Themes in The Model Millionaire

1. Kindness and Generosity

The central theme of the story is the value of genuine kindness. Hughie Erskine gives a sovereign to a man he believes is a poor beggar, even though he himself has very little money. His generosity is spontaneous, sincere, and completely selfless. Oscar Wilde suggests that true charity is measured not by the amount given but by the spirit in which it is offered.

2. Appearance versus Reality

One of the most important themes is the contrast between appearance and reality. The old beggar is, in fact, Baron Hausberg, one of the wealthiest men in Europe, while Hughie, who appears respectable and prosperous, is struggling financially. Wilde reminds readers that outward appearances are often deceptive and that people should never be judged by their clothes or social status.

3. Wealth and Poverty

The story explores the difference between material wealth and moral wealth. Hughie lacks money but possesses compassion and integrity. Baron Hausberg possesses immense wealth but also demonstrates humility and generosity. Wilde suggests that the highest form of wealth is generosity of heart.

4. Love and Financial Security

The love between Hughie and Laura is genuine, but social realities stand in their way. Colonel Merton insists that Hughie must earn £10,000 before marriage. Wilde portrays the tension between romantic love and financial stability, a common concern in Victorian society.

5. Reward of Good Deeds

The story conveys the timeless belief that sincere acts of kindness often receive unexpected rewards. Hughie's generosity changes his own destiny, proving that goodness eventually finds recognition.

6. Human Dignity

Although Baron Hausberg is disguised as a beggar, he is treated with kindness and respect by Hughie. The story teaches that every human being deserves dignity regardless of appearance or economic condition.

Literary Devices in The Model Millionaire

1. Irony

Irony is the most significant literary device in the story.

Hughie, who is poor, gives money to someone who is actually a millionaire.

The apparent beggar becomes Hughie's benefactor.

The wealthy Baron receives charity from the man who needs it most.

This dramatic reversal creates humour and strengthens the story's moral message.

2. Dramatic Irony

The readers discover, along with Hughie, that the beggar is Baron Hausberg. The revelation transforms an ordinary act of charity into an extraordinary event.

3. Humour

Oscar Wilde's gentle humour appears throughout the story, especially in Alan Trevor's witty observations and in the amusing situations created by mistaken identity.

4. Contrast

The story repeatedly contrasts:

Wealth and poverty

Appearance and reality

Material success and moral greatness

Social status and personal character

These contrasts deepen the reader's understanding of the central themes.

5. Symbolism

Several objects and characters carry symbolic meaning.

The sovereign symbolizes true generosity because Hughie gives away almost everything he has.

The beggar's disguise symbolizes the deceptive nature of appearances.

The cheque for £10,000 symbolizes the unexpected rewards of selfless kindness.

6. Characterization

Oscar Wilde develops each character through actions rather than lengthy descriptions. Hughie's generosity and Baron Hausberg's gratitude reveal their personalities more effectively than direct narration.

7. Epigram

Like many of Wilde's works, the story concludes with a memorable epigram:

"Millionaire models are rare enough, but model millionaires are rarer still."

This witty statement summarizes the entire story in a single sentence.

Important Quotations with Explanation

1. "Millionaire models are rare enough, but model millionaires are rarer still."

Explanation: This concluding remark by Alan Trevor is both humorous and meaningful. It suggests that while wealthy people occasionally pose as models, truly generous millionaires who possess noble character are extremely uncommon.

2. "People who are charming lose all sense of humanity."

Explanation: Alan Trevor jokingly remarks that handsome people often fail to notice the hardships of others. Hughie immediately proves him wrong through his generous act, making the statement ironic.

3. "Poor old fellow! I wish I could do something for him."

Explanation: Hughie's words reveal his compassionate nature. He feels genuine sympathy for someone he believes to be a helpless beggar, showing that kindness comes naturally to him.

4. "Here's a sovereign for you."

Explanation: This simple sentence becomes the turning point of the story. Hughie's gift represents selfless charity because he parts with almost all the money he possesses.

5. "A wedding present to Hughie Erskine and Laura Merton."

Explanation: Baron Hausberg's message demonstrates that generosity inspires generosity. Hughie's kindness is rewarded with the very amount needed to marry Laura.

Conclusion

Through rich symbolism, brilliant irony, memorable characters, and sparkling humour, Oscar Wilde transforms a simple incident into a timeless moral tale. The Model Millionaire reminds readers that compassion, generosity, and integrity are the greatest forms of wealth, while appearances often conceal the true nature of people.

Multiple Choice Questions & Answer Key

Q1: What is Hughie Erskine’s primary "failing" according to the narrator?

a) He is mean-spirited.

b) He has no intellectual interests.

c) He is unable to make money.

d) He is unattractive.

Answer: c) He is unable to make money.

Q2: Who is Laura Merton?

a) Alan Trevor’s sister.

b) Hughie’s fiancée.

c) The Baron's daughter.

d) A model in Alan’s studio.

Answer: b) Hughie’s fiancée.

Q3: What condition does the Colonel set for Hughie to marry his daughter?

a) Hughie must find a steady job.

b) Hughie must inherit a title.

c) Hughie must have £10,000 of his own.

d) Hughie must leave London forever.

Answer: c) Hughie must have £10,000 of his own.

Q4: What is Alan Trevor’s profession?

a) A banker.

b) A professional model.

c) A painter.

d) A philanthropist.

Answer: c) A painter.

Q5: Why does Alan Trevor think the "beggar" is a wonderful model?

a) Because he is actually very wealthy.

b) Because his poverty is "picturesque."

c) Because he is a relative of Alan's.

d) Because he doesn't charge for his time.

Answer: b) Because his poverty is "picturesque."

Q6: What does Hughie give the beggar in the studio?

a) A pound note.

b) A sovereign.

c) A shilling.

d) His old coat.

Answer: b) A sovereign.

Q7: How does Hughie feel after giving the money to the beggar?

a) Proud and superior.

b) Angry at Alan Trevor.

c) A bit foolish because it was his last coin.

d) Relieved to be rid of his debt.

Answer: c) A bit foolish because it was his last coin.

Q8: Who was the "beggar" in reality?

a) A professional thief.

b) Alan Trevor’s father.

c) Baron Hausberg.

d) A failed artist.

Answer: c) Baron Hausberg.

Q9: How did the Baron find out about Hughie's private affairs?

a) He read it in the newspaper.

b) Alan Trevor told him everything.

c) He hired a private investigator.

d) Hughie confessed his love for Laura to him.

Answer: b) Alan Trevor told him everything.

Q10: What was the Baron’s initial reaction when Hughie gave him the coin?

a) He laughed in Hughie's face.

b) He tried to give it back.

c) He smiled and seemed very interested.

d) He grew angry at being pitied.

Answer: c) He smiled and seemed very interested.

Q11: What is the name of the "old gentleman with gold spectacles" who visits Hughie?

a) Mr. Merton.

b) Monsieur Gustave Naudin.

c) Baron Hausberg.

d) Alan Trevor.

Answer: b) Monsieur Gustave Naudin.

Q12: What was written on the outside of the envelope delivered to Hughie?

a) "A debt of honor."

b) "A wedding present to Hughie Erskine and Laura Merton."

c) "To my favorite model."

d) "Repayment for a sovereign."

Answer: b) "A wedding present to Hughie Erskine and Laura Merton."

Q13: Which of these best describes Alan Trevor’s personality?

a) Morally upright and serious.

b) Cynical, artistic, and witty.

c) Shy and reclusive.

d) Greedy and manipulative.

Answer: b) Cynical, artistic, and witty.

Q14: What is the "moral" provided at the very end of the story?

a) "Honesty is the best policy."

b) "Model millionaires are commoner than millionaire models."

c) "Millionaire models are rarer than model millionaires."

d) "Charity begins at home."

Answer: c) "Millionaire models are rarer than model millionaires."

Q15: What is the tone of the story?

a) Tragic and somber.

b) Witty and ironic.

c) Horror and suspense.

d) Educational and dry.

Answer: b) Witty and ironic.

Short Answer Questions & Answers

Question 1: Describe Hughie Erskine’s physical appearance and how it contrasts with his financial status.

Answer: Hughie Erskine is exceptionally good-looking, possessing crisp brown hair, a clear-cut profile, and gray eyes. He is popular with both men and women due to his charm and appearance. However, his physical perfection contrasts sharply with his financial distress; he is poor, unemployed, and incapable of making money, trying various occupations (such as working on the Stock Exchange, selling tea, and selling sherry) with no success.

Question 2: Why does Oscar Wilde describe Alan Trevor as a "strange rough fellow, with a freckled face and a red ragged beard"?

Answer: Wilde uses this vivid description to highlight Trevor's unrefined, unconventional artistic temperament. Unlike Hughie, who relies on charm and looks, Trevor is a master of his craft precisely because of his passionate, unconventional nature and devotion to art over superficial perfection.

Question 3: What is the significance of the phrase "the aesthetic of misery" in the context of Alan Trevor’s art?

Answer: "The aesthetic of misery" reflects Trevor's belief that suffering, poverty, and rags possess a visual beauty and romantic value suitable for art. For an artist, poverty is not an unfortunate social condition to be remediated, but a striking subject that yields artistic charm and financial reward when captured on canvas.

Question 4: Explain Hughie’s reasoning for giving his last sovereign to the beggar.

Answer: Driven by genuine empathy and a soft heart, Hughie feels deeply moved when he sees the old beggar's forlorn and exhausted appearance while posing in Trevor's studio. Feeling that the beggar needs the money far more than he does, Hughie slips his last sovereign into the beggar's hand, despite knowing it leaves him with virtually no money for himself.

Question 5: How does Alan Trevor react when Hughie tells him he gave the beggar money?

Answer: Trevor breaks into loud laughter upon hearing the news. He finds it immensely amusing because he knows what Hughie does not: that the "beggar" is actually Baron Hausberg, one of the richest men in Europe who could buy all of London, making Hughie's act of charity both absurd and unintentionally hilarious.

Question 6: Why did the Baron find Hughie’s act of charity so "refreshing"?

Answer: As an enormously wealthy baron, Hausberg is accustomed to people flattering him, seeking his money, or treating him with deference. To receive a sovereign out of pure, uncalculating pity from an ordinary young man was a novel and heartwarming experience that touched the Baron's spirit.

Question 7: Contrast the character of the Colonel (Laura’s father) with the character of Baron Hausberg.

Answer: Colonel Merton is pragmatic, stern, and focused strictly on financial status, insisting that Hughie must possess £10,000 before marrying Laura. In contrast, Baron Hausberg, despite possessing unimaginable wealth, displays genuine generosity and appreciation for human kindness, using his wealth to reward Hughie’s kindness without requiring anything in return.

Question 8: How does the story use irony in its depiction of the "beggar"?

Answer: Dramatic irony is central to the story: Hughie pities a man he believes to be destitute and gives him his last coin, while the reader and Trevor learn that the man is actually Baron Hausberg, who buys cities and finances nations. The situational irony culminates when the "beggar" turns out to be the very source of the wealth Hughie needed to marry Laura.

Question 9: What role does Alan Trevor play in the resolution of Hughie’s problem?

Answer: Trevor acts as the inadvertent catalyst. By inviting Hughie to his studio, leaving him alone with the posing model, and later revealing Hughie’s personal situation and love for Laura to Baron Hausberg, Trevor bridges the gap between Hughie's plight and the Baron’s benevolence.

Question 10: Define what Wilde means by the title "The Model Millionaire."

Answer: The title is a clever double entendre (wordplay). On one hand, it refers literally to Baron Hausberg acting as an artist’s posing model in the studio. On the other hand, it describes Hausberg as a "model" (ideal/exemplary) millionaire because he uses his vast fortune with generosity, empathy, and grace to help others.

Long Answer Questions & Detailed Model Answers

Question 1: Appearance vs. Reality: Discuss how Oscar Wilde explores the theme of appearance versus reality through the character of Baron Hausberg. How does this theme relate to Wilde’s views on art and society?

Model Answer:

Oscar Wilde masterfully weaves the theme of appearance versus reality throughout The Model Millionaire. The central plot hinge relies on a complete inversion of visual perception: Baron Hausberg appears as a withered, destitute beggar dressed in tattered rags, holding out his hat for alms, yet in reality, he is one of the wealthiest financial titans in Europe.

Hughie Erskine judges solely by visual cues and emotional impulse, assuming that rags equal poverty. Alan Trevor, as an artist, also values appearance, but from an aesthetic viewpoint—seeing the rags as picturesque material for a canvas rather than a sign of actual suffering. Meanwhile, the Baron transcends both views; he wears the costume of poverty for art's sake, but acts with nobility when presented with genuine human compassion.

This exploration links directly to Wilde's Aestheticism and commentary on Victorian high society. Victorian society often conflated external appearance (clothing, titles, wealth) with inner worth. Wilde exposes the fallibility of judging by appearances alone while ironically showing that art (the portrait) can obscure reality in a way that ultimately leads to moral and material goodness.

Question 2: The Nature of Charity: Evaluate Hughie’s act of giving. Was it a wise decision or a reckless one? How does the story challenge the idea that charity must be "practical" to be valuable?

Model Answer:

From a strictly pragmatic financial standpoint, Hughie’s act of giving away his last sovereign was reckless. Hughie was unemployed, in debt, and desperate to secure £10,000 to marry the love of his life. Giving away his last coin left him unable to afford basic comforts like hansom cabs.

However, Wilde elevates Hughie’s act above practical calculation. Hughie’s generosity was spontaneous, selfless, and motivated by pure empathy. He expected nothing in return, nor did he check whether the recipient "deserved" the charity by utilitarian standards.

The story directly challenges the Victorian obsession with utilitarian and "practical" charity, which often insisted on strict moral accounting before aiding the poor. Wilde implies that heartfelt, uncalculating generosity possesses a transcendent moral beauty. Paradoxically, Hughie’s "unwise" and impulsive kindness yields a reward (£10,000) that no amount of practical business enterprise had managed to produce for him, proving that pure kindness has a value beyond cold arithmetic.

Question 3: Wildean Wit and Epigram: Examine the use of humor and social commentary in the story. How do Wilde’s witty observations about wealth and "romance" shape the reader's understanding of the characters?

Model Answer:

Oscar Wilde's signature wit relies heavily on epigrams, paradoxes, and sharp social satire. The story opens with famously ironic lines: "Unless one is wealthy there is no use in being a charming fellow. Romance is the privilege of the rich, not the profession of the unemployed." Through these witty observations, Wilde critiques Victorian class structures that reduced emotional endeavors like love and marriage to financial transactions.

The humor throughout the narrative stems from the mismatch between expectations and reality. For example, Alan Trevor’s cynical commentary on art ("an artist's heart is his head") contrasts with Hughie's sentimental nature. The climax reaches peak Wildean irony when Hughie realizes he gave a sovereign to a man who could easily buy out the entire city.

These witty remarks do not merely entertain; they provide an incisive critique of how society values money above human personality. By wrapping serious social commentary in lighthearted humor, Wilde ensures the story remains entertaining while delivering a critique of Victorian materialist values.

Question 4: The Role of the Artist: Analyze the character of Alan Trevor. Does he represent Wilde’s own views on art? Discuss his statement: "An artist’s heart is his head."

Model Answer:

Alan Trevor represents the quintessential Aesthetic artist, embodying many principles of the "Art for Art's Sake" movement with which Wilde was closely affiliated. Trevor views the world strictly through an artistic lens, detached from moralizing or social activism. When Hughie expresses sympathy for the beggar's suffering, Trevor dismisses it, arguing that a beggar's value lies in how picturesque his rags appear on canvas.

Trevor's statement, "An artist’s heart is his head," suggests that creation requires intellectual detachment and aesthetic discipline rather than sentimentality. To produce great art, the artist must analyze color, form, light, and shadow without being overwhelmed by emotional sympathy for the subject.

While Wilde shared Trevor's devotion to aesthetic beauty, the story subtly critiques Trevor's emotional detachment. Trevor treats the Baron as a mere subject and laughs at Hughie's sympathy, yet it is Hughie's emotional "heart" rather than Trevor's analytical "head" that ultimately touches the Baron and brings about a happy ending. Thus, Wilde uses Trevor to explore the boundaries of Aestheticism.

Question 5: A Study of Values: The story concludes with the idea that being a "millionaire model" is rare. Discuss the various "values" presented in the story (monetary, aesthetic, and moral). Which does the story ultimately prioritize?

Model Answer:

The Model Millionaire examines three distinct value systems: monetary value (represented by Colonel Merton and the financial requirement for marriage), aesthetic value (represented by Alan Trevor and the portrait), and moral/humanitarian value (represented by Hughie's selfless kindness).

Monetary Value: Victorian society places supreme emphasis on capital. Colonel Merton measures Hughie's worth solely by his bank account (£10,000), viewing romantic feelings as worthless without capital.

Aesthetic Value: Trevor values visual beauty and art above emotional sentiment, seeing poverty as a dramatic tool for painterly success.

Moral Value: Hughie lacks both financial power and artistic genius, but possesses genuine warmth, empathy, and generosity.

In the story's resolution, Wilde synthesizes these values in a surprising way. Baron Hausberg uses his vast monetary value to reward Hughie’s moral value, sparked by an interaction that began as aesthetic value in Trevor’s studio. Ultimately, the story prioritizes moral and human warmth. While money is necessary to satisfy societal demands, it is Hughie's selfless character that earned the gift. As Trevor’s final epigram states, "Millionaire models are rare enough, but, by Jove! model millionaires are rarer still!"—affirming that wealth combined with moral goodness is the highest value of all.