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    Salomé
    Salomé
    Salomé
    Ebook76 pages46 minutes

    Salomé

    By Oscar Wilde

    3.5/5

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    About this ebook

    "SALOMÉ" has made the author's name a household word wherever the English language is not spoken. Few English plays have such a peculiar history. Written in French in 1892 it was in full rehearsal by Madame Bernhardt at the Palace Theatre when it was prohibited by the Censor. Oscar Wilde immediately announced his intention of changing his nationality, a characteristic jest, which was only taken seriously, oddly enough, in Ireland. The interference of the Censor has seldom been more popular or more heartily endorsed by English critics. On its publication in book form "Salomé" was greeted by a chorus of ridicule, and it may be noted in passing that at least two of the more violent reviews were from the pens of unsuccessful dramatists, while all those whose French never went beyond Ollendorff were glad to find in that venerable school classic an unsuspected asset in their education—a handy missile with which to pelt "Salomé" and its author.
    LanguageEnglish
    PublisherOscar Wilde
    Release dateOct 10, 2015
    ISBN9788892504417
    Author

    Oscar Wilde

    Oscar Wilde (1854-1900) was an Irish poet and playwright who rose to global fame in the 1880s as a larger-than-life public persona with plays such as The Importance of Being Earnest, An Ideal Husband, and Lady Windermere's Fan. The author of countless brilliant epigrams that form part of our popular lexicon, he was sentenced to two years of hard labor in prison for having relations with men, which ruined his reputation and career. Upon his release he exiled himself in France, where he died penniless. Today Wilde is celebrated as a courageous crusader for free expression, gay love, and anyone oppressed by hypocritical conventions.

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    Reviews for Salomé

    3.5/5

    282 ratings7 reviews

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    • 3/5
      Classic retelling of the story of The daughter of Herod and her wish of the Head of John the Baptist for dancing the Dance of the Seven Veils.
    • 4/5
      Wilde's writing is the center piece of this play about Herod, Salome, and John the Baptist. A fine, quick read, with a very fine introduction by Holbrook Jackson.
    • 3/5
      Salome by Oscar Wilde was a very strange play. The usual witty, humorous dialogs which I expected in his play was totally absent. This actually turned out to be a very depressing book. I could not relate to the protagonist Salome one bit I felt she was an eccentric character. First of all Salome desiring a Baptist was something very odd and on top that she wanted him very badly and then when he rejected her at once she took a very drastic step to get him back which was horrible and disturbing. I am unable to understand what to make out of this play!!
    • 3/5
      A haunting story based on a few short bible versus this play was the base of the opera. Libretto is almost identical. Excellent preparation if u plan to see the opera
    • 1/5
      Note to Oscar -- stick to the witty repartee and the mocking of society that is your trademark. I could not sit through this wordy, heavy piece if my life depended on it. The guy who was beheaded was the lucky one.
    • 2/5
      I suppose its actually better than this old, twentieth century, South Pacific native could ever appreciate. If it was, indeed, written by Oscar Wilde, it is so different from his Victorian English comedic dramas that I couldn't recognize any threads of sisterhood to them. I love those and I don't love this.
    • 4/5
      Very well-edited, newly translated three-language edition (French, English, Swedish) of Wilde's quite short and very quickly banned play. The annotations are very good, placing the script in a biblical and historical context, even noting where Wilde, for example, uses phrases in his other works. Not my fave tome by Wilde, but still very readable.

    Book preview

    Salomé - Oscar Wilde

    SALOMÉ.

    A NOTE ON SALOMÉ.

    SALOMÉ has made the author's name a household word wherever the English language is not spoken. Few English plays have such a peculiar history. Written in French in 1892 it was in full rehearsal by Madame Bernhardt at the Palace Theatre when it was prohibited by the Censor. Oscar Wilde immediately announced his intention of changing his nationality, a characteristic jest, which was only taken seriously, oddly enough, in Ireland. The interference of the Censor has seldom been more popular or more heartily endorsed by English critics. On its publication in book form Salomé was greeted by a chorus of ridicule, and it may be noted in passing that at least two of the more violent reviews were from the pens of unsuccessful dramatists, while all those whose French never went beyond Ollendorff were glad to find in that venerable school classic an unsuspected asset in their education—a handy missile with which to pelt Salomé and its author. The correctness of the French was, of course, impugned, although the scrip had been passed by a distinguished French writer, to whom I have heard the whole work attributed. The Times, while depreciating the drama, gave its author credit for a tour de force , in being capable of writing a French play for Madame Bernhardt, and this drew from him the following letter:—

    The Times, Thursday, March 2, 1893, p. 4.

    MR. OSCAR WILDE ON SALOMÉ.

    To the Editor of The Times.

    Sir, My attention has been drawn to a review of Salomé which was published in your columns last week. The opinions of English critics on a French work of mine have, of course, little, if any, interest for me. I write simply to ask you to allow me to correct a misstatement that appears in the review in question.

    The fact that the greatest tragic actress of any stage now living saw in my play such beauty that she was anxious to produce it, to take herself the part of the heroine, to lend to the entire poem the glamour of her personality, and to my prose the music of her flute-like voice—this was naturally, and always will be, a source of pride and pleasure to me, and I look forward with delight to seeing Mme. Bernhardt present my play in Paris, that vivid centre of art, where religious dramas are often performed. But my play was in no sense of the words written for this great actress. I have never written a play for any actor or actress, nor shall I ever do so. Such work is for the artisan in literature—not for the artist.

    I remain, Sir, your obedient servant,

    OSCAR WILDE.

    When Salomé was translated into English by Lord Alfred Douglas, the illustrator, Aubrey Beardsley, shared some of the obloquy heaped on Wilde. It is interesting that he should have found inspiration for his finest work in a play he never admired and by a writer he cordially disliked. The motives are, of course, made to his hand, and never was there a more suitable material for that odd tangent art in which there are no tactile values. The amusing caricatures of Wilde which appear in the Frontispiece , Enter Herodias and The Eyes of Herod, are the only pieces of vraisemblance in these exquisite designs. The colophon is a real masterpiece and a witty criticism of the play as well.

    On the production of Salomé by the New Stage Club in May, 1905, [1] the dramatic critics again expressed themselves vehemently, vociferating their regrets that the play had been dragged from its obscurity. The obscure drama, however, had become for five years past part of the literature of Europe. It is performed regularly or intermittently in Holland, Sweden, Italy, France, and Russia, and it has been translated into every European language, including the Czech. It forms part of the repertoire of the German stage, where it is performed more often than any

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