Salome

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Salome is Oscar Wilde’s most experimental—and controversial—play. In its own time, the play, written in French, was described by a reviewer as “an arrangement in blood and ferocity, morbid, bizarre, repulsive.” None, however, could deny the importance of Wilde’s creation. Contemporary audiences and reviewers variously regarded Salome as the symbol of a thrilling modernity, a challenge to patriarchy, a confession of desire, a sign of moral decay, a new form of art, and a revolt against the restraints of Victorian society. Less well known than Wilde’s beloved comedies, Salome is as enduringly modern and relevant.
This edition uses the English translation done by Wilde’s lover, Lord Alfred Douglas, and overseen and corrected by Wilde himself. Appendices detail the play’s sources and provide extensive materials on its contemporary reception and dramatic productions.

Acknowledgements
Introduction
Oscar Wilde: A Brief Chronology
A Note on the Text
Salome
Appendix A: Sources

1. Matthew 14:1-12, The Bible: Authorized King James Versionwith Apocrypha (2008)
2. “Descent of the Goddess Ishtar into the Lower World,”The Sacred Books and Early Literature of the East (1917)
3. From Heinrich Heine, Atta Troll (1843)
4. From J.C. Heywood, Herodias: A Dramatic Poem (1867)
5. From Oscar Wilde, “Review of J.C. Heywood’s Salome,”Pall Mall Gazette (15 February 1888)
6. From Stéphane Mallarmé, “La scéne: Nourrice—Hérodiade”(1864-67)
7. From Gustave Flaubert, “Hérodias” (1877)
8. William Wilde, “Salome” (1878)
9. From Joris-Karl Huysmans, Á Rebours (1884)
10. From Maurice Maeterlinck, La Princesse Maleine (1889)

Appendix B: A Visual History

1. Gustave Moreau, “The Apparition” (1876)
2. Aubrey Beardsley, Design for the Title Page to the English Edition of Salome (1894)
3. Aubrey Beardsley, Final Design for the Title Page (1894)
4. Aubrey Beardsley, “The Woman in the Moon” (1894)
5. Aubrey Beardsley, “The Climax” (1894)

Appendix C: Contemporary Responses

1. From Edgar Saltus, Oscar Wilde: An Idler’s Impression (1917)
2. Pierre Louÿs, “Salomé: à Oscar W.” (30 June 1892)
3. Letter from Oscar Wilde to Richard Le Gallienne (22/23 February 1893)
4. From a Letter from Bernard Shaw to Oscar Wilde (28 February 1893)
5. From a Letter from Max Beerbohm to Reginald Turner (February 1893)
6. From “Salomé,” The Times (23 February 1893)
7. From a Review of Salomé, Pall Mall Gazette (27 February 1893)
8. Letter from Stéphane Mallarmé to Oscar Wilde (March 1893)
9. From William Archer, “Mr. Oscar Wilde’s New Play,”Black and White (11 May 1893)
10. From Lord Alfred Douglas, “Salomé: A Critical Overview,” The Spirit Lamp (1893)

Appendix D: Translation History

1. Letter from Lord Alfred Douglas to John Lane (30 September 1893)
2. From a Letter from Lord Alfred Douglas to John Lane (16 November 1893)
3. From a Letter from Oscar Wilde to Lord Alfred Douglas (January-March 1897)
4. From a Letter from Robert Ross to Frank Harris (undated)
5. From Lord Alfred Douglas, Autobiography (1929)
6. Translation Chart

Appendix E: Performance History

1. From Charles Ricketts, Self-Portrait (1939)
2. From Graham Robertson, Time Was (1931)
3. Photograph of Sarah Bernhardt in Costume as Salome (1891)
4. From a Letter from Oscar Wilde to William Rothenstein (July 1892)
5. “Mr. Oscar Wilde on Salome,” The Times (2 March 1893)
6. From Oscar Wilde, “The Censure and Salome,” Pall Mall Budget (30 June 1892)
7. Bernard Partridge, “A Wilde Idea,” Punch Magazine (9 July 1892)
8. From a Letter from Max Beerbohm to Reginald Turner (June 1892)
9. Oscar Wilde, “Plan de la scene” (1891)
10. From M.J. du Tillet, “Théâtres” [review of the Paris premiere of Salome], Revue bleue politique et littéraire (1896)
11. From Jean de Tinan, “Théâtre de l’oeuvre: Salomé” [review of the Paris premiere], Mercure de France (March 1896)
12. From “Salome,” The Saturday Review (13 May 1905)
13. Photograph of Alice Guszalewicz in Costume as Salome (c. 1910)
14. “The Cult of the Clitoris,” The Vigilante (16 February 1918)
15. From the Verbatim Report of the Trial of Noel Pemberton Billington, MP, on a Charge of Criminal Libel (1918)

Select Bibliography

Oscar Fingal O'Flahertie Wills Wilde (1854 - 1900) was an Irish playwright, novelist, essayist and poet. After writing in different forms throughout the 1880s, he became one of London's most popular playwrights in the early 1890s. He is remembered for his epigrams, his novel The Picture of Dorian Gray, his plays, as well as the circumstances of his imprisonment and early death. Wilde's parents were successful Anglo-Irish Dublin intellectuals. Their son became fluent in French and German early in life. At university, Wilde read Greats; he proved himself to be an outstanding classicist, first at Dublin, then at Oxford. He became known for his involvement in the rising philosophy of aestheticism, led by two of his tutors, Walter Pater and John Ruskin. After university, Wilde moved to London into fashionable cultural and social circles. As a spokesman for aestheticism, he tried his hand at various literary activities: he published a book of poems, lectured in the United States and Canada on the new "English Renaissance in Art" and then returned to London where he worked prolifically as a journalist. Known for his biting wit, flamboyant dress and glittering conversation, Wilde became one of the best-known personalities of his day.