Themes
Key
LitCharts assigns a color and icon to each theme in The Remarkable Rocket, which you can use to track the themes throughout the work.
Pride, Arrogance, and Delusion
High Society and Snobbery
Fame and Alienation
Summary
Analysis
The King’s son, the Prince, is about to marry a Russian Princess from Finland, and the Court is already beginning to celebrate. The Princess is wearing a little silver cap and her skin is as pale as snow, so the people of the Court proclaim, “She is like a white rose!” When she and the Prince meet, they are immediately smitten with each other. When he tells her that she is beautiful, her skin blushes red.
Wilde writes this story as a fairytale and includes the typical fairytale convention of love at first sight. However, in light of the Court and the frivolity of high society, Wilde is pitching the perfect romance in a cynical light, as if it is just another aspect of delusion.
Themes
A clever young Page says, “She was like a white rose before, but she is like a red rose now,” which delights the Court and the King. The King orders for the Page’s salary to be doubled, which, since the Page receives no salary, means nothing at all. But the Court celebrates nonetheless and publishes the news in the local paper.
A few days later, as the wedding celebration continues, the Prince and Princess drink from a supposedly magical crystal chalice whose crystal will cloud grey if anyone other than true lovers drink from it. The Page makes another clever quip—noting that it is “as clear as crystal” that the couple are truly in love. The Court is again delighted, and the King futilely doubles the Page’s salary once more.
The magical chalice is clearly just a regular cup. However, the whole Court buys into this delusion, demonstrating its idealization of true love and romance. Wilde seems to be skewering such idealization, which rose to great heights in the wealth of Romantic literature that preceded his Victorian era.
Themes
There is to be be a royal ball where the King has promised to play the flute for his subjects. The author interjects to say that the King is a horrible flute player, knowing “only two airs,” but is unaware of this since none of his subjects are bold enough to tell him so and always applauded enthusiastically when the King plays.
While the belief in the chalice seems to have been held sincerely by the Court as a manifestation of its own ideals, the musical prowess of the King is a clear farce. This is the most egregious instance of the Court’s posturing, flatly lying to gain favor and maintain status.
Themes
Literary Devices
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Since the Princess has never seen fireworks before, the King orders that a fireworks display be prepared as the last feature of the wedding festivities. After the royal Pyrotechnist finishes arranging and preparing them to be lit, “the fireworks began to talk to each other.”
Wilde’s abrupt transition from standard fairy tale fare to speaking objects strikes the first note of comic absurdity in the story. Wilde’s use of absurd humor predates but strongly parallels 20th century authors such as Kurt Vonnegut and Douglas Adams. Within the tale itself, this comic absurdity will later be carried by the self-aggrandizing musings of both the Rocket and the Frog.
Themes
A small Squib, admiring the garden that they have been set up in, congratulates himself on having traveled the world, but is rudely corrected by a Roman Candle, who insists that the world is bigger than the King’s garden, and in fact would take three whole days to visit thoroughly. At the same time, a Catherine Wheel, who prides herself on being heartbroken and melancholy, bemoans the death of love at the hands of the poets. She and the Roman Candle bicker about this.
The snobbery and delusion of the aristocratic Court is immediately present in the conversation between the fireworks as well. The Roman Candle is quick to judge, hoping to appear wise but looking like an even greater fool to the reader. The Catherine Wheel tries to prove her sophistication through cynicism, but mostly comes off as irritating and pathetic.
Themes
The Rocket introduces himself by coughing sharply, as he always did to “attract attention” before he spoke. A Cracker cries “Order, order!” to show that he had been involved in parliament. The Rocket speaks in a slow, distinguished tone, as if “dictating his memoirs,” and never makes eye contact with the person he is talking to, but stares over their shoulder.
The Rocket speaking as if “dictating a memoir” is particularly ironic. Memoirs are meant to be written by individuals who have lived full lives and learned from their experiences. The Rocket has had no life—indeed, has not even entered society—but still considers himself a great source of wisdom and virtue.
Themes
Literary Devices
The Rocket reflects on how “fortunate” it is for the Prince that he is to be married on the same day that the Rocket is to be set off, regarding it as a great honor for the Prince that their days should so coincide. The Squib contradicts him, arguing that all of the fireworks are to be set off in honor of the Prince and not the other way around.
Though all of the fireworks and the entire Court are delusional, the Rocket’s delusion reaches far greater heights. It requires an astronomical ego to literally believe the world is centered around himself when everyone else clearly sees that it is not.
Themes
The Rocket defies him, explaining that while the rest of the fireworks may have been set up in honor of the royal wedding, the royal wedding is most certainly in honor of the Rocket’s own splendor. This is due to the fact that the Rocket is born of “remarkable parents,” who according to him, were most impressive and widely talked about after they were let off.
The Rocket’s delusion is largely justified by his belief that his parents were noble rather than on any actual accomplishments, which is a clear reference to the Late-Victorian aristocracy of England. It even holds true for much of modern high society.
Themes
Literary Devices
As he explains his lineage, the Rocket misspeaks, saying “pylotechnic” rather than “pyrotechnic.” A Bengal Light corrects him, saying that he has the word written on his own canister and so is sure of its spelling. The Rocket reprimands him, claiming that he meant to say it that way. The Bengal Light is so embarrassed that he begins bullying the smaller fireworks to prove that he is still someone of status.
The Bengal Light’s response to the Rocket’s reprimand is poignant, nodding to the primary role that hierarchy and status play in high society. For the Bengal Light, proving that he is more powerful than someone else in the room reassures himself of his own value; without someone to dominate, his sense of self is at risk.
Themes
The Rocket returns to talking about himself, something he regards as a terribly fascinating subject. He points out his own sensitivity, claiming that it is one of the qualities that makes him so remarkable. When the Roman Candle and the Cracker share a private joke at the Rocket’s expense, the Cracker laughs.
The Rocket’s entire world and sense of reality is forcefully reshaped to maintain his own ego. Any quality he observes about himself must therefore be a chief virtue, since it was felt by a “remarkable” individual.
Themes
Literary Devices
The Rocket demands to know why the Cracker is laughing, to which the Cracker answers that he is laughing merely because he is happy. The Rocket finds this to be a “selfish reason,” since he himself is not happy and everyone else should be thinking as much about him as he does. The Rocket believes that the act of thinking about the Rocket is the definition of sympathy, a virtue that he possesses in the “high[est] degree.”
The Rocket reflects on the great tragedy it would be for everyone else if anything should happen to him. The Prince and Princess, he believes, would never know happiness again and the King would certainly never recover. As he considers his own supposed “importance,” the Rocket nearly cries.
The Rocket’s narcissism demonstrates his delusion but also his tremendous nearsightedness. It would be very difficult to believe that the universe revolved around him, as he does, if he had any inkling whatsoever of the size or scope of the world. His world is small, and thus he is able to be the center of it.
Themes
The Roman Candle and the Bengal Light advise the Rocket that he must keep himself dry of he is ever to set off correctly and delight others. They both see this as common sense. However, the Rocket spurns their common sense on the grounds that he is “very uncommon, and very remarkable,” with a great imagination that “never think[s] of things as they really are.”
Even the fireworks, snobbish and posturing as they are, understand on some level that their purpose is to give others pleasure. The Rocket completely misses this, showing that he cannot even fulfill a minor function. Wilde uses clever wordplay (denying “common sense” by claiming to be “uncommon”) to voice a remarkably stupid character.
Themes
The Rocket ignores the need to keep himself dry, complaining instead that no one can appreciate his highly emotional nature and great sensitivity. He is angry at the other fireworks for laughing and enjoying themselves “just as if the Prince and Princess had not just been married.”
When a little Fire-balloon suggests that the royal wedding is indeed a reason to be happy, the Rocket insists that that is a “trivial view of life.” Instead, he muses on the fact that doom could fall on the Prince and Princess, such as a series of unlikely events that would result in their future child drowning in a river. Though this has not happened, the Rocket grieves the possibility that it could, and states that if it ever does happen, it will not be worth grieving about any longer.
At this point, the Rocket becomes utterly nonsensical, rambling about a far-fetched hypothetical tragedy. However, his delusion has forced him that point, since he has to justify to himself why he is unhappy on a happy day and how that is actually a mark of virtue.
Themes
The Bengal Light snidely calls the Rocket “the most affected person [he’s] ever met.” The Rocket responds that the Bengal Light is “the rudest person” and unable to comprehend the Rocket’s friendship with the Prince, despite the fact that the Rocket does not know him. Rather, he insists that if he ever were to meet the Prince, they would no longer be friends.
The Rocket decides that he must have friends, since famous people do, but does not have any grasp of what that means. And since he cannot relate to anyone, friendship to him must not be based upon relationships either, for then it would be out of his reach.
Themes
The Rocket is again advised to keep himself dry, but indignantly declares that he will cry if he so chooses. He does so, tears streaming down his body and almost drowning a pair of beetles.
Meanwhile, The Roman Candle and the Bengal Light keep shouting “Humbug!” as loudly as they can to demonstrate their disagreement and their own high level of practicality.
Not to be outdone, the Roman Candle and the Bengal Light continue to shape their public image. In high society, reputation is everything.
Themes
The moon rises, music plays, and the Prince and Princess lead the dance, as “white lilies” and “red poppies” watch on. The night progresses until, at midnight, the King orders the fireworks show to begin.
The white and red flowers seem to be a reference to the Page’s initial quip, and Wilde continues his habit of personifying anything and everything. If the fireworks are alive, so must be the flowers.
Themes
The Royal Pyrotechnist and his crew light the fireworks, which set off in an excellent display. Each of the fireworks fly into the air and explode, enjoying themselves and delighting the Court.
“[T]he Remarkable Rocket,” however, has so wet himself with tears that his gunpowder is too damp to ignite. Meanwhile, all of the other fireworks are having a wonderful time soaring through the air. The little Princess is also having a wonderful time watching the spectacle.
The Rocket has failed his sole function, which is to soar into the air and delight his audience. He is also missing out on the enjoyment being shared by the Princess and the other fireworks. Not only is he an abject failure, he is also unable to share the delight of the celebration.
Themes
The Rocket believes that he was purposely not set off, and surmises that he is being reserved for an even more special occasion, which causes him to regard himself even more highly.
Since the Rocket’s ego cannot abide the concept of personal failure, he once again deludes himself and distorts reality to pay himself even higher praise.
Themes
When the workmen come to clean the Court the next day, the Rocket sees them coming and believes they are about to honor him, so he puts his nose in the air and pretends to be thinking very serious thoughts. The workmen initially don’t notice him, but when they do, they refer to him as a “bad rocket” and toss him over the palace wall into a ditch.
While it may have been plausible until now that the Rocket was at least impressive as a firework, the indifference with which he is treated by the workmen settles the matter. He is just a toy, and a faulty one at that.
Themes
The Rocket heard the workmen call him a “bad rocket,” but surmises that they must have actually said “grand rocket,” as the two words sound similar. He does not like the swamp he has landed in, but assumes it must be a “fashionable watering-place” he has been sent to rest and recover his nerves.
A Frog swims up to the Rocket, noting that he is new to the area and then immediately discussing the weather (he likes grey clouds and rain; sun is bad weather) and how wonderful he thinks the swamp is.
The Frog’s assessment of weather is another nod to subjectivity and delusion. While most people would prefer a sunny day, the Frog wants only wet weather.
Themes
The Rocket coughs for attention, as he often does, but the Frog merely remarks on how lovely his cough sounds and how closely it resembles a croak, which the Frog considers the most beautiful sound in the world. This reminds him of his glee club which croaks together near the farmer’s house and keeps everyone awake all night, including the farmer’s wife. The frog understands this to be a mark of their immense popularity, that everyone should lie awake to listen to the beauty of their croaking.
The Frog shows the same level of delusion and vanity—since everyone obviously loathes the croaking at night—that is typical to high society, even though he lives a far simpler life in the swamp. This adds nuance to Wilde’s spearing of the upper class, suggesting that such delusions of grandeur are not relegated solely to the wealthy and sophisticated.
Themes
The Rocket, annoyed that he cannot get a word in edgewise, coughs angrily again. But the Frog simply remarks on his beautiful voice and continues talking again, this time about his daughters whom he fears will be eaten by a pike. Shortly thereafter, the Frog bids the Rocket farewell, saying that he has “enjoyed [their] conversation.”
The Frog and his vanity are more than a match for the Rocket. The Frog possesses the same egotistical penchant for hearing himself speak, but lacks the Rocket’s sensitivity, meaning that he easily gives the Rocket a taste of his own medicine by dominating the conversation.
Themes
The Rocket finally manages to get a word in, retorting that it was not a conversation since the Frog was the only one to speak the entire time. The Frog, however, prefers it that way, since “[i]t saves time, and prevents arguments,” and, since everyone in “good society” should already hold the same opinion, there is no reason for arguments anyway.
The Frog holds the same prejudices as members of high society, but with a countryside flavoring. Rather than posturing to present a certain self-image, the Frog believes that everyone of “good society” should fall in line with him. This is a typical small-town, middle class, mentality.
Themes
The Frog swims away, but nevertheless the Rocket offers his own retort, describing how “irritating” it is when one person talks only about themselves while another person wants to talk about themselves even more. He goes on to speak again of his own virtue and “sympathetic nature,” describing how lucky the Frog is to be in the presence of the Rocket, a figure of high society who was recently at the royal wedding.
The Rocket continues talking after the Frog has already departed, pointing to the fact that any speaking the Rocket does is exclusively for his own benefit, whether he realizes it or not. He also wrongly assumes that anyone in the countryside cares that he is a figure of the Court.
Themes
Literary Devices
A Dragonfly sitting on a nearby bush reminds the Rocket that there is no reason to keep talking to the Frog since he is not even there anymore. When the Rocket tells the Dragonfly that he does not care if the Frog will not listen for he enjoys hearing himself talk, the Dragonfly quips that he should be a philosopher and flies away.
Wilde again mocks himself and his own societal class. As an advocate of aestheticism, Wilde was himself known for being something of a philosopher and was often invited to social occasions to provide interesting conversation. It seems that at least some part of him saw this as largely frivolous.
Themes
Once more, the Rocket keeps talking, alone and sinking into the mud, reflecting on what a loss it is for the Dragonfly not to bask in such “[g]enius” as the Rocket clearly possesses. The Rocket reassures himself that he will be properly recognized someday.
That the Rocket continues speaking just the same whether there is another character present or not again points to the fact that he does so for his own benefit.
Themes
A beautiful Duck swims up and immediately points out the Rocket’s strange shape, asking if he was born that way or it has resulted from some sort of accident. The Rocket attempts to belittle the Duck, stating that she must be a poor person of the countryside if she does not recognize someone as noble, sophisticated, and famous as he. He tells her that she will be impressed to hear that he can fly up in the air and explode “in a shower of golden rain.”
Wilde again alludes to the subjective nature of beauty and perception. The Rocket considers himself to be magnificent, but the Duck sees him as malformed. The Duck herself is thought to be quite beautiful, though in physical appearance she could not be more different from the Rocket. He is tall thin, and soars into the air. She is short, round, and waddles across the ground or swims in the pond.
Themes
The Duck is unimpressed by this, and tells the Rocket so. She cannot see what function he offers, since he cannot plough or pull or care for sheep. The Rocket declares that the Duck is obviously of a lower order, since people of the Rocket’s high station do not work. They gloat in their achievements and that is all. He furthers reports that he regards hard work merely as the pastime of those who have nothing else to do.
Contrary to the Frog, the Duck is not very similar to the Rocket. She is simple and believes in functionally contributing to society. The Rocket is fancy and pompous, believing that work is beneath him and that he needs no function since he contributes to the world by simply existing.
Themes
Literary Devices
The Duck is of a kind disposition and neglects to continue the argument. Instead, she tells the Rocket that she hopes he will live in the swamp. The Rocket rudely declines, however, since the swamp is “essentially suburban” and lacks the sophistication he is accustomed to. He surmises that he will return to Court, since he is destined to cause a great impression among society.
Once again, the Duck subverts the character of the Rocket, offering kindness in the face of his argumentative nature. She even offers him the chance to belong somewhere, even though he is constantly pushing away from the people around him. Instead, he chooses to continue his relentless pursuit of fame.
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Literary Devices
This causes the Duck to reminisce about her own brief stint in public life and politics. A while back, seeing many things in need of reform, she had chaired a meeting in which they condemned all the things they did not agree with. But, when realizing that nothing was changing and it made little difference, the Duck decided to take up a domestic life instead and care for her family.
It would seem that the Duck’s kindness, simplicity, and practicality could not co-exist with the politics and posturing of public life. As the kindest and most well-adjusted character, the Duck’s exit from public life offers a clear value statement: public life is for conceited people, while domestic life is for good people.
Themes
The Rocket is unaffected by this, stating that he is born for public life and accustomed to the finer things that high society can offer. With this, the Duck remembers that she is hungry and swims away, to the great distress of the Rocket since he still has so many things to say.
The Rocket’s nearsightedness prevails once again. He is unable to see that the Duck is happier, kinder, and more virtuous than anyone he has met so far. He is set in his ways, unyielding. The Duck, too practical to fight a losing battle, gives up.
Themes
As the Rocket is “think[ing] about the loneliness of genius” and sinking further into the mud, two boys come near carrying carrying bundles of sticks and a kettle. The Rocket sees them and once again believes them to be a “deputation” sent to honor him somehow.
The “loneliness of genius” is in fact the loneliness of extreme vanity, but this fact requires far more self-awareness than the Rocket possesses. Once again, even in the swamp, approached by two kids, the Rocket feeds his ego and assumes they are somehow going to praise him.
Themes
One of the boys notices the Rocket and picks him out of the mud, calling him an “old stick.” Once again, the Rocket is convinced that the boy must have said “gold stick” which seems to be a high praise.
The Rocket’s constant reinterpretation of reality points to the way in which one’s preconceived notions about the world and other people can wildly distort the way they perceive what is around them.
Themes
The boys decide to burn the Rocket with the other sticks so that they can boil their water, so they build a small fire and set the Rocket in it. The Rocket is exuberant, believing that they are purposefully setting him off in “broad daylight” so that the whole country will be able to see him.
The boys are finally offering the smallest amount of utility to the Rocket, some semblance of purpose, but of course he does not see this. The unspoken irony is that a firework is far more visible less visible during the daytime than at night, but the Rocket’s perception of it fits into his delusion.
Themes
The boys fall asleep. Because of how damp the Rocket is, it takes a long while for him to dry out enough for his gunpowder to ignite, but eventually it does. The Rocket soars into the air, shouting about how high he will fly and how his explosion will be so deafening that it is all that is talked about for an entire year.
The Rocket explodes, but nobody hears him. Even the two boys remain sound asleep. The Rocket is reduced to a stick, which falls on the back of a Goose, startling her. As the Rocket’s embers fade, he states that he always knew he would be “a great sensation.” Then, he goes out.
The Rocket dies without a legacy. His pursuit of fame, his vanity, and his delusion have cost him the single thing that mattered to him: being widely seen and admired. Instead, he dies in obscurity, holding onto his delusion until his last breath.
Themes
Literary Devices
