The works of cosmopolitan British novelist, short story writer and playwright Ronald Firbank (1886-1926) may be read as an early instance of the resistance to a conception of English as a hegemonic language and to the political and social norms which such an imperialistic conception entails. Following in the footsteps of Oscar Wilde and other fin de siècle writers, Firbank, a fervent Francophile, wrote poems in French, such as “La Princesse au soleil” (1904) and “Harmonie” (1904), whilst his texts in English are fraught with words or passages in foreign languages, suggesting a hybridization of English. My paper will focus more specifically on Ronald Firbank’s 1920 comedy The Princess Zoubaroff, a partial rewriting of Oscar Wilde’s The Importance of Being Earnest (1895) transposed in Florence among an eccentric cosmopolitan community. I aim to address the post-wildean polyglossia staged in Firbank’s play in order to show that Firbank’s idiosyncratic Babel aims at “minorizing”, de-territorialising English, queering it to translate same-sex, dissident desires. A further focus will be on how the various acts of intermedial translation the play hinges on—from the frontispiece created by Michel Sevier for the original edition published by Grant Richards in 1920 to the many artistic references in the text—contribute to blurring gender and generic borders and to creating a delicate bubble of fancy, a microcosm wherein media, languages and temporalities enter into dialogue.