Salome (or in French: Salomé) is a tragedy by Oscar Wilde. The original 1891 version of the play was in French. Three years later an English translation was published. The play tells in one act the Biblical story of Salome, stepdaughter of the tetrarch Herod Antipas, who, to her stepfather's dismay but to the delight of her mother Herodias, requests the head of Jokanaan (John the Baptist) on a silver platter as a reward for dancing the dance of the seven veils.
Rehearsals for the play's debut on the London stage began in 1892, but were halted when the Lord Chamberlain's licensor of plays banned Salomé on the basis that it was illegal to depict Biblical characters on the stage. The play was first published in French in 1893, and an English translation, with illustrations by Aubrey Beardsley, in 1894. On the Dedication page, Wilde indicated that his lover Lord Alfred Douglas was the translator. In fact, Wilde and Douglas had quarrelled over the latter's translation of the text which had been nothing short of disastrous given his poor mastery of French — though Douglas claimed that the errors were really in Wilde's original play. Beardsley and the publisher John Lane got drawn in when they sided with Wilde. In a gesture of reconciliation, Wilde did the work himself but dedicated Douglas as the translator rather than having them sharing their names on the title-page. Douglas compared a dedication to sharing the title-page as "the difference between a tribute of admiration from an artist and a receipt from a tradesman."
The play was eventually premiered on February 11, 1896, while Wilde was in prison, in Paris at the Comédie-Parisienne in a staging by Aurélien Lugné-Poë's theatre group, the Théâtre de l'Œuvre. In Pall Mall Gazette of June 29, 1892 Wilde explained, why he had written Salomé in French: "I have one instrument that I know I can command, and that is the English language. There was another instrument to which I had listened all my life, and I wanted once to touch this new instrument to see whether I could make any beautiful thing out of it. [...] Of course, there are modes of expression that a Frenchman of letters would not have used, but they give a certain relief or color to the play. A great deal of the curious effect that Maeterlinck produces comes from the fact that he, a Flamand by grace, writes in an alien language. The same thing is true of Rossetti, who, though he wrote in English, was essentially Latin in temperament."
A performance of the play was arranged by the New Stage Club at the Bijou Theatre in Archer Street, London, on 10 and 13 May 1905, starring Millicent Murby as Salome and directed by Florence Farr. In June 1906 the play was presented privately with A Florentine Tragedy by the Literary Theatre Society at King's Hall, Covent Garden. The Lord Chamberlain's ban was not lifted for almost forty years; the first public performance of Salomé in England was at the Savoy Theatre on October 5, 1931.
In 1992 the play was performed on Broadway at the Circle in the Square Theatre, under the direction of Robert Allan Ackerman. Sheryl Lee starred as the title role alongside Al Pacino. The play costarred Suzanne Bertish, Esai Morales and Arnold Vosloo.
Many view Wilde's Salomé as a superb composite of earlier treatments of the theme overlaid with Belgian playwright Maurice Maeterlinck's characteristic methodical diction. Although the "kissing of the head" element was used in Heine and even Heywood's production, Wilde's ingenuity was to move it to the play's climax. While his debts are undeniable, there are some interesting contributions in Wilde's treatment, most notably being his persistent use of parallels between Salomé and the moon.
Scholars like Nassaar point out that Wilde employs a number of images favored by Israel's kingly poets, and the moon is meant to suggest the pagan goddess Cybele, who, like Salomé, was obsessed with preserving her virginity and thus took pleasure in destroying male sexuality.
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Rehearsals for the play's debut on the London stage began in 1892, but were halted when the Lord Chamberlain's licensor of plays banned Salomé on the basis that it was illegal to depict Biblical characters on the stage. The play was first published in French in 1893, and an English translation, with illustrations by Aubrey Beardsley, in 1894. On the Dedication page, Wilde indicated that his lover Lord Alfred Douglas was the translator. In fact, Wilde and Douglas had quarrelled over the latter's translation of the text which had been nothing short of disastrous given his poor mastery of French — though Douglas claimed that the errors were really in Wilde's original play. Beardsley and the publisher John Lane got drawn in when they sided with Wilde. In a gesture of reconciliation, Wilde did the work himself but dedicated Douglas as the translator rather than having them sharing their names on the title-page. Douglas compared a dedication to sharing the title-page as "the difference between a tribute of admiration from an artist and a receipt from a tradesman."
The play was eventually premiered on February 11, 1896, while Wilde was in prison, in Paris at the Comédie-Parisienne in a staging by Aurélien Lugné-Poë's theatre group, the Théâtre de l'Œuvre. In Pall Mall Gazette of June 29, 1892 Wilde explained, why he had written Salomé in French: "I have one instrument that I know I can command, and that is the English language. There was another instrument to which I had listened all my life, and I wanted once to touch this new instrument to see whether I could make any beautiful thing out of it. [...] Of course, there are modes of expression that a Frenchman of letters would not have used, but they give a certain relief or color to the play. A great deal of the curious effect that Maeterlinck produces comes from the fact that he, a Flamand by grace, writes in an alien language. The same thing is true of Rossetti, who, though he wrote in English, was essentially Latin in temperament."
A performance of the play was arranged by the New Stage Club at the Bijou Theatre in Archer Street, London, on 10 and 13 May 1905, starring Millicent Murby as Salome and directed by Florence Farr. In June 1906 the play was presented privately with A Florentine Tragedy by the Literary Theatre Society at King's Hall, Covent Garden. The Lord Chamberlain's ban was not lifted for almost forty years; the first public performance of Salomé in England was at the Savoy Theatre on October 5, 1931.
In 1992 the play was performed on Broadway at the Circle in the Square Theatre, under the direction of Robert Allan Ackerman. Sheryl Lee starred as the title role alongside Al Pacino. The play costarred Suzanne Bertish, Esai Morales and Arnold Vosloo.
Many view Wilde's Salomé as a superb composite of earlier treatments of the theme overlaid with Belgian playwright Maurice Maeterlinck's characteristic methodical diction. Although the "kissing of the head" element was used in Heine and even Heywood's production, Wilde's ingenuity was to move it to the play's climax. While his debts are undeniable, there are some interesting contributions in Wilde's treatment, most notably being his persistent use of parallels between Salomé and the moon.
Scholars like Nassaar point out that Wilde employs a number of images favored by Israel's kingly poets, and the moon is meant to suggest the pagan goddess Cybele, who, like Salomé, was obsessed with preserving her virginity and thus took pleasure in destroying male sexuality.
Salome (Illustrated with Notes)
Salome (or in French: Salomé) is a tragedy by Oscar Wilde. The original 1891 version of the play was in French. Three years later an English translation was published. The play tells in one act the Biblical story of Salome, stepdaughter of the tetrarch Herod Antipas, who, to her stepfather's dismay but to the delight of her mother Herodias, requests the head of Jokanaan (John the Baptist) on a silver platter as a reward for dancing the dance of the seven veils.
Rehearsals for the play's debut on the London stage began in 1892, but were halted when the Lord Chamberlain's licensor of plays banned Salomé on the basis that it was illegal to depict Biblical characters on the stage. The play was first published in French in 1893, and an English translation, with illustrations by Aubrey Beardsley, in 1894. On the Dedication page, Wilde indicated that his lover Lord Alfred Douglas was the translator. In fact, Wilde and Douglas had quarrelled over the latter's translation of the text which had been nothing short of disastrous given his poor mastery of French — though Douglas claimed that the errors were really in Wilde's original play. Beardsley and the publisher John Lane got drawn in when they sided with Wilde. In a gesture of reconciliation, Wilde did the work himself but dedicated Douglas as the translator rather than having them sharing their names on the title-page. Douglas compared a dedication to sharing the title-page as "the difference between a tribute of admiration from an artist and a receipt from a tradesman."
The play was eventually premiered on February 11, 1896, while Wilde was in prison, in Paris at the Comédie-Parisienne in a staging by Aurélien Lugné-Poë's theatre group, the Théâtre de l'Œuvre. In Pall Mall Gazette of June 29, 1892 Wilde explained, why he had written Salomé in French: "I have one instrument that I know I can command, and that is the English language. There was another instrument to which I had listened all my life, and I wanted once to touch this new instrument to see whether I could make any beautiful thing out of it. [...] Of course, there are modes of expression that a Frenchman of letters would not have used, but they give a certain relief or color to the play. A great deal of the curious effect that Maeterlinck produces comes from the fact that he, a Flamand by grace, writes in an alien language. The same thing is true of Rossetti, who, though he wrote in English, was essentially Latin in temperament."
A performance of the play was arranged by the New Stage Club at the Bijou Theatre in Archer Street, London, on 10 and 13 May 1905, starring Millicent Murby as Salome and directed by Florence Farr. In June 1906 the play was presented privately with A Florentine Tragedy by the Literary Theatre Society at King's Hall, Covent Garden. The Lord Chamberlain's ban was not lifted for almost forty years; the first public performance of Salomé in England was at the Savoy Theatre on October 5, 1931.
In 1992 the play was performed on Broadway at the Circle in the Square Theatre, under the direction of Robert Allan Ackerman. Sheryl Lee starred as the title role alongside Al Pacino. The play costarred Suzanne Bertish, Esai Morales and Arnold Vosloo.
Many view Wilde's Salomé as a superb composite of earlier treatments of the theme overlaid with Belgian playwright Maurice Maeterlinck's characteristic methodical diction. Although the "kissing of the head" element was used in Heine and even Heywood's production, Wilde's ingenuity was to move it to the play's climax. While his debts are undeniable, there are some interesting contributions in Wilde's treatment, most notably being his persistent use of parallels between Salomé and the moon.
Scholars like Nassaar point out that Wilde employs a number of images favored by Israel's kingly poets, and the moon is meant to suggest the pagan goddess Cybele, who, like Salomé, was obsessed with preserving her virginity and thus took pleasure in destroying male sexuality.
Rehearsals for the play's debut on the London stage began in 1892, but were halted when the Lord Chamberlain's licensor of plays banned Salomé on the basis that it was illegal to depict Biblical characters on the stage. The play was first published in French in 1893, and an English translation, with illustrations by Aubrey Beardsley, in 1894. On the Dedication page, Wilde indicated that his lover Lord Alfred Douglas was the translator. In fact, Wilde and Douglas had quarrelled over the latter's translation of the text which had been nothing short of disastrous given his poor mastery of French — though Douglas claimed that the errors were really in Wilde's original play. Beardsley and the publisher John Lane got drawn in when they sided with Wilde. In a gesture of reconciliation, Wilde did the work himself but dedicated Douglas as the translator rather than having them sharing their names on the title-page. Douglas compared a dedication to sharing the title-page as "the difference between a tribute of admiration from an artist and a receipt from a tradesman."
The play was eventually premiered on February 11, 1896, while Wilde was in prison, in Paris at the Comédie-Parisienne in a staging by Aurélien Lugné-Poë's theatre group, the Théâtre de l'Œuvre. In Pall Mall Gazette of June 29, 1892 Wilde explained, why he had written Salomé in French: "I have one instrument that I know I can command, and that is the English language. There was another instrument to which I had listened all my life, and I wanted once to touch this new instrument to see whether I could make any beautiful thing out of it. [...] Of course, there are modes of expression that a Frenchman of letters would not have used, but they give a certain relief or color to the play. A great deal of the curious effect that Maeterlinck produces comes from the fact that he, a Flamand by grace, writes in an alien language. The same thing is true of Rossetti, who, though he wrote in English, was essentially Latin in temperament."
A performance of the play was arranged by the New Stage Club at the Bijou Theatre in Archer Street, London, on 10 and 13 May 1905, starring Millicent Murby as Salome and directed by Florence Farr. In June 1906 the play was presented privately with A Florentine Tragedy by the Literary Theatre Society at King's Hall, Covent Garden. The Lord Chamberlain's ban was not lifted for almost forty years; the first public performance of Salomé in England was at the Savoy Theatre on October 5, 1931.
In 1992 the play was performed on Broadway at the Circle in the Square Theatre, under the direction of Robert Allan Ackerman. Sheryl Lee starred as the title role alongside Al Pacino. The play costarred Suzanne Bertish, Esai Morales and Arnold Vosloo.
Many view Wilde's Salomé as a superb composite of earlier treatments of the theme overlaid with Belgian playwright Maurice Maeterlinck's characteristic methodical diction. Although the "kissing of the head" element was used in Heine and even Heywood's production, Wilde's ingenuity was to move it to the play's climax. While his debts are undeniable, there are some interesting contributions in Wilde's treatment, most notably being his persistent use of parallels between Salomé and the moon.
Scholars like Nassaar point out that Wilde employs a number of images favored by Israel's kingly poets, and the moon is meant to suggest the pagan goddess Cybele, who, like Salomé, was obsessed with preserving her virginity and thus took pleasure in destroying male sexuality.
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Product Details
| BN ID: | 2940015704839 |
|---|---|
| Publisher: | Balefire Publishing |
| Publication date: | 09/15/2012 |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| Pages: | 140 |
| File size: | 4 MB |
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