Salome

by Oscar Wilde

Overview

Lord Alfred Douglas' translation of Wilde's great play (originally written in French), with all well-known Beardsley illustrations, including suppressed plates. The best edition. 28 Beardsley illustrations; introduction by Robert Ross.

Product Details

ISBN-13:	9781627933575
Publisher:	Start Publishing LLC
Publication date:	08/20/2013
Sold by:	SIMON & SCHUSTER
Format:	eBook
Pages:	25
File size:	282 KB

About the Author

Oscar Wilde (1854–1900) was a Dublin-born poet and playwright who studied at the Portora Royal School, before attending Trinity College and Magdalen College, Oxford. The son of two writers, Wilde grew up in an intellectual environment. As a young man, his poetry appeared in various periodicals including Dublin UniversityMagazine. In 1881, he published his first book Poems, an expansive collection of his earlier works. His only novel, The Picture of Dorian Gray, was released in 1890 followed by the acclaimed plays Lady Windermere’s Fan (1893) and The Importance of Being Earnest (1895).

Date of Birth:

October 16, 1854

Date of Death:

November 30, 1900

Place of Birth:

Dublin, Ireland

Place of Death:

Paris, France

Education:

The Royal School in Enniskillen, Dublin, 1864; Trinity College, Dublin, 1871; Magdalen College, Oxford, England, 1874

Table of Contents

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 Version with 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

Editorial Reviews

Salome illuminated! This edition presents Salome as a formally complex, richly intertextual, and generative phenomenon of international modernism. Kimberly Stern sets a superbly annotated text between an extensive introduction and several appendices documenting the play’s literary, cultural, and visual sources, its reception, and its translation, illustration, and performance histories. The edition offers copious source materials to augment the text, some requisite and some unexpected. Stern’s adept and unprecedented selection of contextual sources enhances the powerful and recurrent fascination of a play that has continuously spawned adaptations as well as controversy. This is where all students of Salome should start.” — Heidi Hartwig, Central Connecticut State University

From the Publisher

Salome illuminated! This edition presents Salome as a formally complex, richly intertextual, and generative phenomenon of international modernism. Kimberly Stern sets a superbly annotated text between an extensive introduction and several appendices documenting the play’s literary, cultural, and visual sources, its reception, and its translation, illustration, and performance histories. The edition offers copious source materials to augment the text, some requisite and some unexpected. Stern’s adept and unprecedented selection of contextual sources enhances the powerful and recurrent fascination of a play that has continuously spawned adaptations as well as controversy. This is where all students of Salome should start.

Heidi Hartwig Central Connecticut State University

Cast members find every nuance of emotion as they dramatize passion, innocence, obligation, and madness in this Wilde production. Kate Steele gives a tour-de-force performance as the beautiful and sensual Salomé, who demands the head of John the Baptist as payment for her dancing the Dance of the Seven Veils for her cruel stepfather, King Herod. The production features a top-notch cast and an original score. First performed in French in 1896 and banned in England for almost 40 years, Wilde’s lyrical and evocative play is a feast for the ears. Every word deserves careful listening. B.P. Winner of AudioFile Earphones Award © AudioFile 2014, Portland, Maine

SEPTEMBER 2014 - AudioFile