himself, perhaps with a playful glint, once suggested that the moon was the play's leading character. Indeed, the moon's presence is both dynamic and transformative, casting an ever-shifting glow over the unfolding events. Despite this, aligning with Wilde's jest requires a stretch of imagination. There is, however, a compelling argument to be made for Herod as the play's genuine protagonist, as some critics assert.

The character of Herod shares the traits of a classical tragic hero, whose crippling flaw—his desire for Salome—ushers in his undoing. His persona is richly layered, potentially surpassing Salome's own complexity. The significant portion of dialogue commanded by Herod demands the audience's unwavering attention.

Nonetheless, advocating for Herod's centrality does not entirely dismiss the arguments that support Salome as the primary figure. To a reader perusing Salome, either character could convincingly wear the mantle of protagonist. However, for a staged rendition to resonate, a director must decisively crown either Salome or Herod as the focal point, thus guiding the play's trajectory. This decision will steer the audience's gaze and, if successful, make the heart of the drama unmistakably clear.

Lyrical Theater

Salome often takes on the guise of a lyrical masterpiece, where prose flows with the grace of poetry. Wilde’s enchanting use of imagery and language evokes a world resplendent with poetic charm, particularly through the evocative descriptions of the moon. The Young Syrian muses that the moon resembles "a little princess who wears a yellow veil, and whose feet are of silver.... You would fancy she was dancing." In contrast, Herod observes, "The clouds are seeking to hide her nakedness."

The rich tapestry of imagery extends to Salome’s portrayal of Jokanaan: "Thy mouth is like a band of scarlet on a tower of ivory. It is like a pomegranate cut with a knife of ivory." Echoing through the piece, repetition amplifies the poetic nature, seen in recurring moon motifs or Salome’s insistent claim to Jokanaan, "I will kiss thy mouth." Music further enhances the lyrical atmosphere, weaving through scenes with references to offstage revelry, or punctuating Salome's hypnotic dance of the seven veils for Herod, adding motion to the symphonic narrative.

Symbolism

Symbols, those enigmatic vessels of deeper meaning, permeate the landscape of Salome, with the moon as the most prominent. Each character's interaction with the moon reveals their inner vision of Salome’s nature. The Young Syrian, smitten with admiration, perceives the moon as a dancing princess. Herodias' Page, wary of the Syrian's perilous longing, sees a dead woman mirrored in the moon. For Salome, the moon embodies a pure, untouched virgin. To Herod, who harbors lustful desires, it is a figure of a naked, inebriated woman. The moon also channels the spirit of Artemis or Diana, the virgin huntress demanding purity and strength, and as Jokanaan forewarns, it becomes blood-red, a harbinger of impending doom for both Jokanaan and Salome.

Color symbolism adds yet another layer of depth to Wilde’s creation. The hues of red, white, and black recur throughout the play, each carrying its own connotations. Red, seen in wine, blood, and Jokanaan's lips, intertwines passion with violence. White adorns Salome's feet and Jokanaan's flesh, signifying both innocence and the pallor of death. Black, a hue of finality, wraps around Jokanaan's hair and shadows the moon at the play’s climax, hinting at destruction’s dark embrace. Various other colors, too, offer symbolic richness within the narrative.

Toward the close of the nineteenth century, symbolism evolved from mere emblematic references to a distinctive artistic movement, opposing the reigning realism on stage. Wilde, inspired by playwright Maurice Maeterlinck, embraced this expressive form, infusing Salome with symbolic significance, and cementing its status as a cornerstone of symbolist theater.

30 A.D.: A chasm divides genders, with societal norms tightly shackling women to their roles. In many instances, wives are scarcely more autonomous than slaves. However, recent studies have unearthed rare instances of women wielding a semblance of power in their communities, though these were exceptions rather than the rule.

Women's Status

1893: The role of women stands at a crossroads. Some cling to the ideal of the demure, obedient spouse, while others champion the "new woman," educated and liberated far beyond the constraints of the past.

Today: Women now navigate a world teeming with opportunities that would have been unimaginable to their forebears. Much of the bias once deemed acceptable against them has been dismantled, whether by evolving societal norms or through legal reforms. Yet, challenges still linger in various spheres.

Religious Expression

30 A.D.: The Romans, while maintaining a firm grasp on their empire, allow religious expression a narrow corridor of freedom, provided it doesn’t disturb the empire’s peace. The tapestry of Roman society is woven with threads from numerous religions.

1893: Victorian society is predominantly Christian, casting a wary eye on other faiths and their followers. Simultaneously, atheism and agnosticism gain traction among those seeking different philosophical paths.

Today: A multitude of faiths continues to thrive, yet for many, religion has receded from the everyday landscape. Agnosticism and atheism have become commonplace, as individuals forge their own spiritual or secular journeys.

Sexual Morality

30 A.D.: The scales of justice tip unequally regarding sexual conduct. The affluent may practice polygamy without reproach, while a woman’s infidelity could be met with the gravest of penalties, even death, unlike their male counterparts.

1893: Society enforces strict codes of sexual ethics, though winds of change blow as many push back against these constraints. Homosexuality, however, remains criminalized, with imprisonment as a consequence.

Today: Society embraces a broader acceptance of diverse sexual expressions. While legal bars have been lifted from homosexuality, prejudice and the shadow of violence persist against the LGBTQ+ community.

The 1923 adaptation of Salome emerged as a silent film masterpiece under the visionary direction of Charles Bryant. This cinematic rendition was both produced by and featured the enigmatic Alla Nazimova in the titular role of Salome, with Mitchell Lewis captivating audiences as Herod.

In 1970, the cultural tapestry of Spain wove a new iteration of Salome, skillfully helmed by the director Rafael Gassent, adding vibrant hues to the film's legacy.

Fast forward to 1972, and the world witnessed yet another reinterpretation, this time both produced and directed by the inventive Carmelo Bene, who crafted a cinematic piece rich with his unique artistic vision.

Moving into the mid-80s, the year 1986 saw director Claude d'Anna bring fresh life to the story. With Jo Champa gracing the screen as Salome and Tomas Milian portraying the regal yet troubled Herod, the film offered a new perspective to audiences.

A Brothel Staging

In 1988, the innovative mind of Ken Russell directed Salome's Last Dance, a film enmeshed with layers of narrative intrigue. Produced by Penny Corke, the movie unfolds as Nickolas Grace embodies Oscar Wilde, who becomes a spectator to his own play, ingeniously staged within a brothel by its cunning proprietor. Imogen Millaid-Scott dazzles in her dual roles as both the alluring Salome and a character named Rose. Complementing the ensemble, Stratford Johns delivers a dual performance as Herod and Alfred Taylor, while Douglas Hodge masterfully takes on the roles of Jokanaan and Lord Alfred Douglas, adding depth and dimension to this multifaceted tale.

Sources

Beckson, Karl. Oscar Wilde: The Critical Heritage, Routledge & Kegan Paul, 1970, pp. 133-42.

Kohl, Norbert. Oscar Wilde: The Works of a Conformist Rebel, translated by David Henry Wilson, Cambridge University Press, 1980. p. 182.

Wilde, Oscar. ‘‘The Ballad of Reading Gaol’’ in Complete Works of Oscar Wilde, Harper & Row, 1966.

Worth, Katharine. Oscar Wilde, Grove, 1983, p. 73.

Further Reading

Briggs, Asa. A Social History of England, Weidenfeld and Nicolson, 1994.
This provides information about English society from prehistoric times to the present. It contains a lengthy chapter on the Victorian period.

Ellmann, Richard. Oscar Wilde, Vintage Books, 1987.
This book is one of the most recent and complete biographies of Wilde.

Ellmann, Richard. Oscar Wilde: A Collection of Critical Essays, Prentice-Hall, 1969.
This book contains a number of essays and poems about Wilde, many written by those who knew him.

Hoare, Philip. Oscar Wilde's Last Stand: Decadence, Conspiracy, and the Most Outrageous Trial of the Century, Arcade, 1997.
This book concerns a 1918 production of Salome that led to a trial, when Maud Allan, playing Salome, was denounced by a right-wing Member of Parliament, whom she sued for libel. Hoare contends that the trial became a trial of Wilde himself and all he was believed to represent.

Raby, Peter. Oscar Wilde, Cambridge University Press, 1988. This book provides background for many of Wilde's essays, stories, poems, and plays, including a chapter on Salome.

Worth, Katherine. Oscar Wilde, Grove, 1983.
This is a good basic introduction to Wilde's plays and includes a chapter on Salome.