In the preceding chapters, I have argued that artistically and professionally, James's and Wilde's careers resemble each other far more than has been thought. In the early 1880s, James made the transatlantic aesthete his own despite the figure's increasing association with Wilde. Though James privately dissociated himself from Wilde's artistic, sexual and identity politics, vestigial markers remain apparent in James's fiction and were remarked on by his critics. In the late 1880s and early 1890s, Wilde situated his art theory in reaction to that of James and Whistler, defining an oppositional aesthetic through a process of imaginative review-as-revision that aimed to mitigate Realism's vivisectionist tendencies. By the mid-1890s, James and Wilde's similarities came into focus through their plays' shared investment in the ontology of modern selfhood, and their desire to elaborate a language to describe this emergent identity. With Wilde's trial and imprisonment, the relationship between the two altered once again.