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    Salomé
    Salomé
    Salomé
    Ebook96 pages44 minutes

    Salomé

    By Oscar Wilde

    3.5/5

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    About this ebook

    Outraged by the sexual perversity of this one-act tragedy, Great Britain's Lord Chamberlain banned Salomé from the national stage. Symbolist poets and writers — Stéphane Mallarmé and Maurice Maeterlinck among them — defended the play's literary brilliance. Beyond its notoriety, the drama's haunting poetic imagery, biblical cadences, and febrile atmosphere have earned it a reputation as a masterpiece of the Aesthetic movement of fin de siècle England.
    Written originally in French in 1892, this sinister tale of a woman scorned and her vengeance was translated into English by Lord Alfred Douglas. The play inspired some of Aubrey Beardsley's finest illustrations, and an abridged version served as the text for Strauss' renowned opera of the same name. This volume reprints the complete text of the first English edition, published in 1894, and also includes "A Note on Salomé" by Robert Ross, Wilde's lifelong friend and literary executor. Students, lovers of literature and drama, and admirers of Oscar Wilde and his remarkable literary gifts will rejoice in this inexpensive edition.

    LanguageEnglish
    PublisherDover Publications
    Release dateMar 21, 2012
    ISBN9780486154343
    Author

    Oscar Wilde

    OSCAR WILDE muss nun wahrlich nicht mehr vorgestellt werden. Aber wussten Sie, dass Das Gespenst von Canterville die erste Buchveröffentlichung Wildes war? Geboren 1854 in Dublin, starb Wilde 1900 in einem Pariser Hotel, das heute schlicht L’Hôtel heißt. Wer früh genug bucht und das nötige Kleingeld hat, kann in dem Zimmer übernachten, in dem Oscar Wilde verkannt, vereinsamt und verarmt starb. Seine legendären letzten Worte galten angeblich der Inneneinrichtung des Hotels: »Entweder geht diese scheußliche Tapete – oder ich.« Heute ist das Haus ein Designhotel.

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    Reviews for Salomé

    3.5/5

    279 ratings7 reviews

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    • 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.
    • 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
    • 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

    e9780486154343_cover.jpge9780486154343_i0001.jpg

    DOVER THRIFT EDITIONS

    GENERAL EDITOR: PAUL NEGRI

    EDITOR OF THIS VOLUME: JOSLYN T. PINE

    Theatrical Rights

    This Dover Thrift Edition may be used in its entirety, in adaptation, or in any other way for theatrical productions, professional and amateur, in the United States, without fee, permission, or acknowledgment. (This may not apply outside of the United States, as copyright conditions may vary.)

    Bibliographical Note

    This Dover edition, first published in 2002, is an unabridged republication of the text of the first English edition of Salome, published in 1894 by Elkin Mathews & John Lane, London. The introductory essay, "A Note on Salome," was written by Robert Ross for the 1930 edition of Salome published by John Lane, The Bodley Head, London.

    Library of Congress Cataloging-in-Publication Data

    Wilde, Oscar, 1854–1900.

    [Salomé. English]

    Salome / Oscar Wilde.

    p. cm.–(Dover thrift editions)

    Unabridged republication of the text of the first English edition–T.p. verso.

    The introductory essay, ‘A note on Salome,’ was written by Robert Ross for the 1930 edition . . . published by John Lane, The Bodley Head, London–T.p. verso.

    9780486154343

    1. Salome (Biblical figure)–Drama. I. Title. II. Series.

    PR5820.S2 E5 2002

    822’.8–dc21

    2001050838

    Manufactured in the United States of America

    Dover Publications, Inc., 31 East 2nd Street, Mineola, N.Y. 11501

    Table of Contents

    Title Page

    Copyright Page

    A Note on Salome

    The Persons of the Play

    DOVER · THRIFT · EDITIONS

    A Note on Salome

    ¹

    Salome 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 Salome 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 Salome and its author. The correctness of the French was, of course, impugned, although the script 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 SALOME

    To the Editor of The Times.

    SIR, My attention has been drawn to a review of Salome 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 Salome 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

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