Appendix: The Christological Background in the Fairy Tales of Oscar Wilde: What could these two, largely didactic, stories of Wilde convey to us today? I must note that my approach is from the perspective of theology, and this should not be considered restrictive. Even though theology has not always been convincing in this regard, its main characteristic is the creative dialogue with cultural reality - the timeless (artistic and other) works of yesterday and the remarkable works of today.

Therefore, it must open up to readings of such works that utilize them as artistic entities, as it itself - as art - cannot be expressed beyond and outside of human language and its various modes. Consequently, literature is a space capable of enriching theology, demonstrating its ability to embrace the good and beautiful from culture. At the same time, artistic sensitivity in the face of (timeless) pathologies of society can meet the philanthropic, trained sensibilities of theology and thus, the latter can regenerate its discourse, transforming it into a more poignant, groundbreaking, and human one.

On a first level, one might speak of a borrowing of theology from literature; however, if we delve deeper, it concerns the distinction of gifts that theology and the Church enjoy as one, despite their frequent renunciation at the altar of any 'secularization' that deprives them of their body and blood: the mystery of the incarnation of the Word. The discourse is about the divine Word, and this leads us, by association but absolutely naturally, to the background of the two stories narrated by Wilde almost a century and a half ago, remaining as relevant and vivid as ever.

For I have a strong sense that the story of Jesus, the incarnate Word of God, which serves as an unparalleled example of emptiness and sacrifice, is the foundation upon which Wilde’s narratives are built with remarkable mastery - although one can observe different emphases, the Christological pattern is discernible in both fairy tales. This is also noted in most of the others from the collection that included them, with perhaps the most notable being 'The Happy Prince', which justly defined its title.