Of all the people who traveled West to see the wild frontier playwright Oscar Wilde was one of the most unique. “To the world I seem, by intention on my part, a dilettante and dandy merely-it is not wise to show one’s heart to the world-and as seriousness of manner is the disguise of the fool, folly in its exquisite modes of triviality and indifference and lack of care is the robe of the wise man. In so vulgar an age as this we all need masks.” So wrote Oscar Wilde in 1894, the year before his crowning achievement, The Importance of Being Earnest, opened in London. And for most of his life the Irish born playwright’s cheerful, witty façade held up quite well. It has held up even better since he died, which probably is why Wilde still regularly shows up on lists of favorite historical dinner guests. But in his last years Wilde was welcome at no tables in England. Though married and the father or two children, Wilde was for years involved with a younger man, Lord Alfred Douglas, called “Bosie,” and he engaged in many anonymous scenes with male prostitutes and pickups. His double life proceeded without incident until soon after Earnest opened, when he received a calling card from Bosie’s eccentric father, the Marquess of Queensbury. It read “To Oscar Wilde, posing as somdominte [sic].” The maintain his mask Wilde felt he had to charge the Maquess with libel. And when the trial began in April 1895, Wilde charmed the jury with punchy testimony. But the Marquess had hired private detectives, and when that evidence began to be presented Wilde abruptly dropped his suit. Later the same day he and Bosie were arrested for immorality. Wilde’s new play continued its successful run, but his name was removed from the program. At his own trial Wilde again maintained his witty upper lip. The first jury could not reach a verdict. But the second jury convicted him, and Wilde was sentenced to two years’ hard labor. He spent the time in solitary confinement, where he was poorly fed and slept on a wooden plank bed. He was put to work sewing mailbags. When he was released in May 1897, Wilde was bankrupt, his manuscripts had either been auctioned or stolen. Friends paid his way to France, where he finally settled in Paris. He wrote a little about prison life, including his famous Ballad of Reading Gaol, and continued to whisk his way through dinner engagements. But he confessed, “I don’t think I shall ever really write again. Something is killed in me.” He picked up boys more frequently than before and began drinking large amounts of absinthe, though doctors had told him it would kill him. Wilde laughed off the warnings, as he did his constant worry about money, quipping, “I am dying beyond my means.” In October 1900, Wilde developed a painful ear infection from an injury he had suffered in prison when he fainted one morning in chapel and perforated an eardrum. Doctors performed surgery, but the infection spread and caused him to develop encephalitis, swelling of the brain. He was taken back to his hotel room, the last in a series of cheaper and cheaper rooms that he could barely afford. The legend is that his last words were “It’s the wallpaper or me-one of us has to go.” But Wilde did not depart with a clever remark. He grew delirious through the month of November. On the thirtieth two close friends near his bed could hear only a painful grinding sound from his throat. A nurse regularly had to dab blood that was drooling from his mount. Slowly his breathing and his pulse weakened until he died at about 2 p.m. that afternoon.

Forty-niners who trekked across the frontier during the Gold Rush often sang songs written by composer Stephen Foster as they traveled. Foster had a way with sentimental words and catchy melodies that has kept his songs popular for more than a century. There’s something pleasantly wholesome and irresistibly old-fashioned about songs like “Jeannie with the Light Brown Hair” and “Oh! Suzanna.” Two have been adopted by states, “My Old Kentucky Home” and Florida’s “Old Folks at Home” (“Swanee River”). What is ironic is that the composer of such unabashed sentimentality-born on the fiftieth birthday of the nation-ended up so miserably. Foster, who grew up singing but had very little musical training near Pittsburg, was successful almost from his first published songs in 1848. He earned more than $1,000 a year in royalties and married in 1850. But he always spent more than he made and the marriage was unhappy. He wrote fewer songs each year until he left his wife and daughter in 1860 and moved to New York City. There, desperate for cash, he churned out 105 songs-more than half of his entire work-in the last three and a half years of his life. Most were soon forgotten, and his previously lucrative publishing arrangement deteriorated to the point that Foster was selling songs outright for a quick $25. The composer, who drank heavily and suffered symptoms of tuberculosis, grew bitter and lonely as he lived in a series of rooming houses. On January 10, 1864, bedridden with fever, Foster got up to wash himself. Apparently as he stood over the washbasin he fell, shattering the porcelain bowl, which cut his neck deeply. He was found by a chambermaid delivering towels later that day. George Cooper, one of his few friends, was summoned to hear Foster whisper, “I’m done for,” and plead for a drink. Foster was taken to the city-run Bellevue Hospital, where he died, alone and unrecognized, three days later. The hospital, which had registered the 37-year-old composer as Stephen Forster, put his body in the morgue for unknown corpses until Cooper retrieved it. Unlike nearly all that he wrote in his final years, Foster’s last song, which he penned just a few days before he died, joined his earlier classics: Beautiful dreamer, wake unto me. Starlight and dew-drops are waiting for thee. Sounds of the rude world heard in the day, Lull’d by the moonlight have all pass’d away.

The early morning sun gleamed like a bright golden coin above the California foothills. It was January 24, 1848. In all the green wilderness world there was no sign of life except a wisp of smoke from a breakfast fire, and the figure of a man walking beside a ditch that led from a nearly finished sawmill to a river. Suddenly he stopped and stared intently down. James Marshall was a surly man, without friends, and he was a long way from his old him in New Jersey. The other men at Sutter’s Fort thought him a little odd, and stupid. But he was the only millwright in all the California country, and he knew that he was a good mechanic. He looked up at the mill he was building for John Sutter, the German-Swiss owner of this big landed estate, and felt satisfied. The mill was coming along well, the dam was finished and the tail race, or ditch, to let water back into the American River, was dug out. Each night Marshall opened the gate to allow the water to wash as much gravel and sand down the tail race as possible. Then in the early morning he went there to see how it looked. It would not be long before his mill, the first in the new territory, would be sawing lumber to ship down the Sacramento River to the village of San Francisco. James Marshall glanced down again. Something had caught his eye. What was it? He leaned forward. Something glittered a little in the gravel against a stone. “What’s that?” he muttered to himself. He sat on one heel, and picked up the little glittering lump that felt strangely heavy. “Gold! Could it be gold?” The small piece looked more like brass. It was no larger than a tiny dried pea. He rubbed it. It still looked golden. James Marshall stood up and saw his laborers sitting around their fire drinking coffee and eating flapjacks. Beyond them the Indian workers moved quietly, preparing their breakfast of dried deer meat. Marshall walked slowly to the fire where his sober Mormon workers ate silently, and opened his hand. “I found it in the tail race.” The men stopped chewing and one exclaimed, “Fool’s gold,” and laughed. Another spit carefully into a bush several yards away. “ ‘Tain’t nothing but iron pyrite.” he said. “Fool’s gold, that’s all.” James Marshall scowled and clenched his fist over the little pebble. He turned on his heel, and strode up the slope to a small log cabin where smoke was lazily riding from a chimney. As he approached he saw Elizabeth Wimmer, wife of a foreman, standing with a long stick in hand over a big, black soap kettle. Elizabeth Wimmer was one of the few American women in the land so taken from Mexico. She had refused to be left at Sutter’s Fort when Peter, her husband, went to take charge of the Indian laborers building the sawmill. As Marshall came up to her he growled, “Look here, Mrs. Wimmer! This looks like gold. The men say it’s iron pyrite.” He unclenched his fist. Mrs. Wimmer leaned forward curiously. Then, before he could stop her, she picked up the little piece and dropped it into the bubbling soap kettle. “We’ll soon find out, Mr. Marshall. If it isn’t gold the lye in this kettle will eat it up quick. James Marshal said nothing, but turned and went back to the breakfast he had not yet eaten. That night as he went to the cabin where he lived with the Wimmers he felt confident again. The mill would work well with the tail race deepened. He was thinking of the lumber they would soon be sawing and of the money they could get from it in the sleepy village of San Francisco. As he sat and smoked his pipe he was startled by Mrs. Wimmer. Through the door she marched, and up to the scrubbed pine table. “There!” she cried triumphantly. “It’s gold, all right, Mr. Marshall!” Mrs. Wimmer’s cry of gold is said to have been heard around the world. It was a cry that started the great California Gold Rush.

This weekend let your troubles “Go West” with the Marx Brothers. Groucho, Chico and Harpo make even “Dead Man’s Gulch” come to life in this film released in 1940. The movie begins with Groucho attempting to fleece Chico and Harpo of the ten dollars he needs to make up the price of a railway ticket and being completely outsmarted. It’s hilarious. The movie contains a Keystone Cops-like chase in which the boys demolish a train in pursuit of the villains. Also funny. Go West features some of Groucho’s best lines. As he’s romancing a saloon girl he says, “Why don’t you let me go? But no, let’s keep this a perfect memory, and someday this bitter ache shall pass, my sweet. Time wounds all heals. You know, there’s a drunk sitting at the first table who looks exactly like you-and one who looks exactly like me. Dull, isn’t it? He’s so full of alcohol, if you put a lighted wick in his mouth, he’d burn for three days. So, let’s go somewhere where we can be alone. Ah, there doesn’t seem to be anyone on this couch.” This was one of the Marx Brothers last films and they only agreed to do Go West because Chico was in trouble. He gambled a lot and needed financial help. Go West helped him get out of debt, but in a short time he was back in the same situation and the brothers had to go to work again. There wasn’t anything the Marx Brothers wouldn’t do for one another.