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爻丕賱賵賲賷
Written originally in French in 1892, Wilde's one-act tragedy 厂补濒辞尘茅 was translated into English by Lord Alfred Douglas, inspired some of Aubrey Beardsley's finest illustrations (long available in a Dover edition), and served as the text (in abridged form) for Strauss' renowned opera of the same name. The play's haunting poetic imagery, biblical cadences, and febrile atmosphere have earned it a reputation as a masterpiece of the Aesthetic movement of fin de si猫cle England. The present volume reprints the complete text of the first English edition (1894), including 鈥濧 Note on 厂补濒辞尘茅鈥� by Robert Ross. It will be welcomed by students and lovers of literature and drama, and any admirer of the incomparable Oscar Wilde.
Languages: French, English
Languages: French, English
109 pages, Paperback
First published January 1, 1891
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14.3k people want to read
About the author
Oscar Wilde
5,434听books37.5k听followersOscar Fingal O'Fflahertie Wills Wilde was an Irish poet and playwright. After writing in different forms throughout the 1880s, he became one of the most popular playwrights in London in the early 1890s. He is best remembered for his epigrams and plays, his novel The Picture of Dorian Gray, and his criminal conviction for gross indecency for homosexual acts.
Wilde's parents were Anglo-Irish intellectuals in Dublin. In his youth, Wilde learned to speak fluent French and German. At university, he read Greats; he demonstrated himself to be an exceptional classicist, first at Trinity College Dublin, then at Magdalen College, Oxford. He became associated with the emerging 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.
Wilde tried his hand at various literary activities: he wrote a play, published a book of poems, lectured in the United States and Canada on "The English Renaissance" in art and interior decoration, and then returned to London where he lectured on his American travels and wrote reviews for various periodicals. Known for his biting wit, flamboyant dress and glittering conversational skill, Wilde became one of the best-known personalities of his day. At the turn of the 1890s, he refined his ideas about the supremacy of art in a series of dialogues and essays, and incorporated themes of decadence, duplicity, and beauty into what would be his only novel, The Picture of Dorian Gray (1890). Wilde returned to drama, writing Salome (1891) in French while in Paris, but it was refused a licence for England due to an absolute prohibition on the portrayal of Biblical subjects on the English stage. Undiscouraged, Wilde produced four society comedies in the early 1890s, which made him one of the most successful playwrights of late-Victorian London.
At the height of his fame and success, while An Ideal Husband (1895) and The Importance of Being Earnest (1895) were still being performed in London, Wilde issued a civil writ against John Sholto Douglas, the 9th Marquess of Queensberry for criminal libel. The Marquess was the father of Wilde's lover, Lord Alfred Douglas. The libel hearings unearthed evidence that caused Wilde to drop his charges and led to his own arrest and criminal prosecution for gross indecency with other males. The jury was unable to reach a verdict and so a retrial was ordered. In the second trial Wilde was convicted and sentenced to two years' hard labour, the maximum penalty, and was jailed from 1895 to 1897. During his last year in prison he wrote De Profundis (published posthumously in abridged form in 1905), a long letter that discusses his spiritual journey through his trials and is a dark counterpoint to his earlier philosophy of pleasure. On the day of his release, he caught the overnight steamer to France, never to return to Britain or Ireland. In France and Italy, he wrote his last work, The Ballad of Reading Gaol (1898), a long poem commemorating the harsh rhythms of prison life.
Wilde's parents were Anglo-Irish intellectuals in Dublin. In his youth, Wilde learned to speak fluent French and German. At university, he read Greats; he demonstrated himself to be an exceptional classicist, first at Trinity College Dublin, then at Magdalen College, Oxford. He became associated with the emerging 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.
Wilde tried his hand at various literary activities: he wrote a play, published a book of poems, lectured in the United States and Canada on "The English Renaissance" in art and interior decoration, and then returned to London where he lectured on his American travels and wrote reviews for various periodicals. Known for his biting wit, flamboyant dress and glittering conversational skill, Wilde became one of the best-known personalities of his day. At the turn of the 1890s, he refined his ideas about the supremacy of art in a series of dialogues and essays, and incorporated themes of decadence, duplicity, and beauty into what would be his only novel, The Picture of Dorian Gray (1890). Wilde returned to drama, writing Salome (1891) in French while in Paris, but it was refused a licence for England due to an absolute prohibition on the portrayal of Biblical subjects on the English stage. Undiscouraged, Wilde produced four society comedies in the early 1890s, which made him one of the most successful playwrights of late-Victorian London.
At the height of his fame and success, while An Ideal Husband (1895) and The Importance of Being Earnest (1895) were still being performed in London, Wilde issued a civil writ against John Sholto Douglas, the 9th Marquess of Queensberry for criminal libel. The Marquess was the father of Wilde's lover, Lord Alfred Douglas. The libel hearings unearthed evidence that caused Wilde to drop his charges and led to his own arrest and criminal prosecution for gross indecency with other males. The jury was unable to reach a verdict and so a retrial was ordered. In the second trial Wilde was convicted and sentenced to two years' hard labour, the maximum penalty, and was jailed from 1895 to 1897. During his last year in prison he wrote De Profundis (published posthumously in abridged form in 1905), a long letter that discusses his spiritual journey through his trials and is a dark counterpoint to his earlier philosophy of pleasure. On the day of his release, he caught the overnight steamer to France, never to return to Britain or Ireland. In France and Italy, he wrote his last work, The Ballad of Reading Gaol (1898), a long poem commemorating the harsh rhythms of prison life.
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September 10, 2021
厂补濒辞尘茅 = Salome, Oscar Wilde
Salome is a tragedy by Oscar Wilde. The original 1891 version of the play was in French. Three years later an English translation was published.
The play tells in one act the Biblical story of Salome, stepdaughter of the tetrarch Herod Antipas, who, to her stepfather's dismay but to the delight of her mother Herodias, requests the head of Jokanaan (John the Baptist) on a silver platter as a reward for dancing the dance of the seven veils.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 爻丕賱 1972賲蹖賱丕丿蹖
毓賳賵丕賳: 爻丕賱賵賲賴貨 賳賵蹖爻賳丿賴: 丕爻讴丕乇 賵丕蹖賱丿貨 賲鬲乇噩賲: 賴賵卮賳诏 丕蹖乇丕賳蹖貨 鬲賴乇丕賳貙 诏賱卮丕卅蹖貙 1327貙 丿乇 61氐貨 趩丕倬 丿蹖诏乇 亘蹖 噩丕貙 毓亘丕爻 噩賴丕賳诏蹖乇蹖貙 1327貨 丿乇61氐貨 賲賵囟賵毓 賳賲丕蹖卮賳丕賲賴 賴丕蹖 賳賵蹖爻賳丿诏丕賳 丕蹖乇賱賳丿 - 爻丿賴 19賲
毓賳賵丕賳: 爻丕賱賵賲賴貙 丕賴賲蹖鬲 丕乇賳爻鬲 亘賵丿賳 賵 亘丕丿亘夭賳 禺丕賳賲 賵蹖賳丿賲乇貨 賳賵蹖爻賳丿賴: 丕爻讴丕乇 賵丕蹖賱丿貨 賲鬲乇噩賲: 賲丨賲丿 爻毓蹖丿蹖貨 鬲賴乇丕賳貙 亘賳诏丕賴 鬲乇噩賲賴 賵 賳卮乇 讴鬲丕亘貙 1336貙 丿乇302氐貨 趩丕倬 丿蹖诏乇 丕賳鬲卮丕乇丕鬲 毓賱賲蹖 賮乇賴賳诏蹖貨 1379貙 丿乇 231氐貙 卮丕亘讴 9644452216貨
毓賳賵丕賳: 爻丕賱賵賲賴貨 賳賵蹖爻賳丿賴: 丕爻讴丕乇 賵丕蹖賱丿貨 賲鬲乇噩賲: 爻蹖乇賵爻 亘賴乇賵夭蹖貨 鬲賴乇丕賳貙 丕賲蹖乇讴亘蹖乇貙 1342貨 丿乇 100 氐貨 趩丕倬 丿蹖诏乇: 鬲賴乇丕賳貙 丌賵丕蹖 乇賵夭丕賳貙 1395貙 丿乇78氐貨 卮丕亘讴 9786008267614貨
毓賳賵丕賳: 爻丕賱賵賲賴貨 賳賵蹖爻賳丿賴: 丕爻讴丕乇 賵丕蹖賱丿貨 賲鬲乇噩賲: 毓亘丿丕賱賱賴 讴賵孬乇蹖貨 鬲賴乇丕賳貙 趩丕倬 讴鬲丕亘貙賴乇賲爻貙 1385貨 丿乇 94氐貨 卮丕亘讴: 9643633489貨 趩丕倬 丿蹖诏乇 鬲賴乇丕賳貙 賴乇賲爻貙 1388貨 丿乇 92氐貨 卮丕亘讴 9789643633486貨 丿賵夭亘丕賳賴貨
毓賳賵丕賳: 蹖讴 鬲乇丕跇丿蹖 丿乇 賮賱賵乇丕賳蹖 賵 爻丕賱賵賲賴貨 賳賵蹖爻賳丿賴: 丕爻讴丕乇 賵丕蹖賱丿貨 賲鬲乇噩賲: 賲丨賲丿乇囟丕 賲讴賵賳丿蹖貨 鬲賴乇丕賳貙 賳卮乇 賯胤乇賴貙 1395貨 丿乇 127氐貨 卮丕亘讴9786001198816貨
賳賲丕蹖卮賳丕賲賴 賵 丿乇丕賲貙 亘丕夭爻丕夭蹖 丕賮爻丕賳賴 蹖 芦爻丕賱賵賲賴禄 卮丕賴夭丕丿賴 禺丕賳賲 卮乇賯蹖 丕爻鬲貙 讴賴 亘乇丕蹖 亘賴 丿爻鬲 丌賵乇丿賳 爻乇 亘乇蹖丿賴 蹖 芦噩丕賳 亘丕倬鬲蹖爻鬲禄 蹖丕 芦蹖丨蹖蹖 鬲毓賲蹖丿 丿賴賳丿賴禄貙 亘丕 倬丕賴丕蹖 亘乇賴賳賴貙 亘乇丕蹖 卮賵賴乇 賲丕丿乇 禺賵蹖卮 乇賯氐蹖丿貨 芦丕爻讴丕乇賵丕蹖賱丿禄 賳賲丕蹖卮賳丕賲賴 蹖 芦爻丕賱賵賲賴禄 乇丕貙 亘丕 賵噩賵丿 賯丕賳賵賳 賲賳毓 鬲賵氐蹖賮 卮禺氐蹖鬲賴丕蹖 讴鬲丕亘 賲賯丿爻 賳诏丕卮鬲賳丿貨
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 16/08/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 18/06/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
Salome is a tragedy by Oscar Wilde. The original 1891 version of the play was in French. Three years later an English translation was published.
The play tells in one act the Biblical story of Salome, stepdaughter of the tetrarch Herod Antipas, who, to her stepfather's dismay but to the delight of her mother Herodias, requests the head of Jokanaan (John the Baptist) on a silver platter as a reward for dancing the dance of the seven veils.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 爻丕賱 1972賲蹖賱丕丿蹖
毓賳賵丕賳: 爻丕賱賵賲賴貨 賳賵蹖爻賳丿賴: 丕爻讴丕乇 賵丕蹖賱丿貨 賲鬲乇噩賲: 賴賵卮賳诏 丕蹖乇丕賳蹖貨 鬲賴乇丕賳貙 诏賱卮丕卅蹖貙 1327貙 丿乇 61氐貨 趩丕倬 丿蹖诏乇 亘蹖 噩丕貙 毓亘丕爻 噩賴丕賳诏蹖乇蹖貙 1327貨 丿乇61氐貨 賲賵囟賵毓 賳賲丕蹖卮賳丕賲賴 賴丕蹖 賳賵蹖爻賳丿诏丕賳 丕蹖乇賱賳丿 - 爻丿賴 19賲
毓賳賵丕賳: 爻丕賱賵賲賴貙 丕賴賲蹖鬲 丕乇賳爻鬲 亘賵丿賳 賵 亘丕丿亘夭賳 禺丕賳賲 賵蹖賳丿賲乇貨 賳賵蹖爻賳丿賴: 丕爻讴丕乇 賵丕蹖賱丿貨 賲鬲乇噩賲: 賲丨賲丿 爻毓蹖丿蹖貨 鬲賴乇丕賳貙 亘賳诏丕賴 鬲乇噩賲賴 賵 賳卮乇 讴鬲丕亘貙 1336貙 丿乇302氐貨 趩丕倬 丿蹖诏乇 丕賳鬲卮丕乇丕鬲 毓賱賲蹖 賮乇賴賳诏蹖貨 1379貙 丿乇 231氐貙 卮丕亘讴 9644452216貨
毓賳賵丕賳: 爻丕賱賵賲賴貨 賳賵蹖爻賳丿賴: 丕爻讴丕乇 賵丕蹖賱丿貨 賲鬲乇噩賲: 爻蹖乇賵爻 亘賴乇賵夭蹖貨 鬲賴乇丕賳貙 丕賲蹖乇讴亘蹖乇貙 1342貨 丿乇 100 氐貨 趩丕倬 丿蹖诏乇: 鬲賴乇丕賳貙 丌賵丕蹖 乇賵夭丕賳貙 1395貙 丿乇78氐貨 卮丕亘讴 9786008267614貨
毓賳賵丕賳: 爻丕賱賵賲賴貨 賳賵蹖爻賳丿賴: 丕爻讴丕乇 賵丕蹖賱丿貨 賲鬲乇噩賲: 毓亘丿丕賱賱賴 讴賵孬乇蹖貨 鬲賴乇丕賳貙 趩丕倬 讴鬲丕亘貙賴乇賲爻貙 1385貨 丿乇 94氐貨 卮丕亘讴: 9643633489貨 趩丕倬 丿蹖诏乇 鬲賴乇丕賳貙 賴乇賲爻貙 1388貨 丿乇 92氐貨 卮丕亘讴 9789643633486貨 丿賵夭亘丕賳賴貨
毓賳賵丕賳: 蹖讴 鬲乇丕跇丿蹖 丿乇 賮賱賵乇丕賳蹖 賵 爻丕賱賵賲賴貨 賳賵蹖爻賳丿賴: 丕爻讴丕乇 賵丕蹖賱丿貨 賲鬲乇噩賲: 賲丨賲丿乇囟丕 賲讴賵賳丿蹖貨 鬲賴乇丕賳貙 賳卮乇 賯胤乇賴貙 1395貨 丿乇 127氐貨 卮丕亘讴9786001198816貨
賳賲丕蹖卮賳丕賲賴 賵 丿乇丕賲貙 亘丕夭爻丕夭蹖 丕賮爻丕賳賴 蹖 芦爻丕賱賵賲賴禄 卮丕賴夭丕丿賴 禺丕賳賲 卮乇賯蹖 丕爻鬲貙 讴賴 亘乇丕蹖 亘賴 丿爻鬲 丌賵乇丿賳 爻乇 亘乇蹖丿賴 蹖 芦噩丕賳 亘丕倬鬲蹖爻鬲禄 蹖丕 芦蹖丨蹖蹖 鬲毓賲蹖丿 丿賴賳丿賴禄貙 亘丕 倬丕賴丕蹖 亘乇賴賳賴貙 亘乇丕蹖 卮賵賴乇 賲丕丿乇 禺賵蹖卮 乇賯氐蹖丿貨 芦丕爻讴丕乇賵丕蹖賱丿禄 賳賲丕蹖卮賳丕賲賴 蹖 芦爻丕賱賵賲賴禄 乇丕貙 亘丕 賵噩賵丿 賯丕賳賵賳 賲賳毓 鬲賵氐蹖賮 卮禺氐蹖鬲賴丕蹖 讴鬲丕亘 賲賯丿爻 賳诏丕卮鬲賳丿貨
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 16/08/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 18/06/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
November 14, 2024
Salome is the daughter of Herodiade, Herod's new wife, Galileo's tetrarch. She's beautiful; she dances well, and she charms. In a shaft well kept, she hears the voice of Iokanaan, imprisoned because he says very disgusting things. Some say he's the messiah. Salome wants to see him. And despite the soldiers' reluctance, despite the threats of Iokanaan himself, despite the horrors that he prophesies and which everyone says concern Herodiade, the mother of Salome, she wants to see him, talk to him, kiss him. He refuses. Herod and Herodiade then arrive. Herod devours his daughter-in-law with his eyes, which his wife has blamed him since. He then begs her to dance for him at any price.
The biblical episode is exceptionally well known. But Oscar Wilde concealed the identity of the prophet St. John the Baptist by giving him his Hebrew name. Therefore, The Catholic tradition is carefully distant, and the character appears almost ridiculous, disturbing, enlightened, and out of the world. But what surprised me most was the character of Salome, which surprisingly worked. We know Herod's lubricity; we see the cruelty of Herodiade, who wished for the prophet's death. It is even assumed that it is to go in the direction of his mother, and Salome will ask for his head. Now, she becomes manipulative, tries to seduce the prophet, to subjugate him by charm as by insults, and it is because he refuses her kiss that condemns him. Finally, on her own, she decides to ask for the head of Jean-Baptiste in a relentless scene where Herod repeatedly lays all the world's riches at Salome's feet. Begging her to ask for something else, she replies, laconic and nagging: "I want the head of Iokanaan." Where she could still be the unwitting object of so much passion, Oscar Wilde makes her a femme fatale and dangerous of her own free will.
The biblical episode is exceptionally well known. But Oscar Wilde concealed the identity of the prophet St. John the Baptist by giving him his Hebrew name. Therefore, The Catholic tradition is carefully distant, and the character appears almost ridiculous, disturbing, enlightened, and out of the world. But what surprised me most was the character of Salome, which surprisingly worked. We know Herod's lubricity; we see the cruelty of Herodiade, who wished for the prophet's death. It is even assumed that it is to go in the direction of his mother, and Salome will ask for his head. Now, she becomes manipulative, tries to seduce the prophet, to subjugate him by charm as by insults, and it is because he refuses her kiss that condemns him. Finally, on her own, she decides to ask for the head of Jean-Baptiste in a relentless scene where Herod repeatedly lays all the world's riches at Salome's feet. Begging her to ask for something else, she replies, laconic and nagging: "I want the head of Iokanaan." Where she could still be the unwitting object of so much passion, Oscar Wilde makes her a femme fatale and dangerous of her own free will.
December 8, 2023
"No le hago caso a mi madre. Es por mi gusto que pido la cabeza de Jokana谩n en una bandeja de plata."
Originalmente escrita en franc茅s por Oscar Wilde, 鈥湷Р贡舸浅久┾€� fue estrenada en Paris en 1894 con notable 茅xito. El compositor alem谩n Richard Strauss compuso una 贸pera inspirada en esta obra y el gran ilustrador Audrey Beardsley realiz贸 sus famosos dibujos a pedido de Wilde; adem谩s, el amante de Wilde, Lord Alfred 鈥淏osie鈥� Douglas la tradujo al ingl茅s.
Hasta el propio Wilde se dio el gusto 茅l mismo de caracterizarse como 厂补濒辞尘茅 (ver foto debajo).
Oscar Wilde revitalizaba el teatro ingl茅s y lo pon铆a en primera plana, luego de que Inglaterra reinterpretara autom谩ticamente obras de Shakespeare o del teatro franc茅s.
"Tragedia en un solo acto" se aclara al comienzo de la obra. Con una adaptaci贸n distinta al episodio b铆blico, Wilde ejecuta este gran acto alrededor de la obsesi贸n, tanto de Herodes, como de Herod铆as y obviamente, de la princesa 厂补濒辞尘茅 transformando la acci贸n en una sucesi贸n de di谩logos efectivos y de final atrapante.
Tiene ingredientes claros de la obra de Wilde: descripciones po茅ticas, con personajes g贸ticos inmersos dentro de un teatro griego, donde 厂补濒辞尘茅 descolla por su magnetismo sexual, que atrae incestuosamente a Herodes, su padre, mientras ella se desvive por Jokana谩n, o Juan el Bautista.
Una mini obra de gran simbolog铆a que posee la cr贸nica de una obsesi贸n anunciada.
Originalmente escrita en franc茅s por Oscar Wilde, 鈥湷Р贡舸浅久┾€� fue estrenada en Paris en 1894 con notable 茅xito. El compositor alem谩n Richard Strauss compuso una 贸pera inspirada en esta obra y el gran ilustrador Audrey Beardsley realiz贸 sus famosos dibujos a pedido de Wilde; adem谩s, el amante de Wilde, Lord Alfred 鈥淏osie鈥� Douglas la tradujo al ingl茅s.
Hasta el propio Wilde se dio el gusto 茅l mismo de caracterizarse como 厂补濒辞尘茅 (ver foto debajo).
Oscar Wilde revitalizaba el teatro ingl茅s y lo pon铆a en primera plana, luego de que Inglaterra reinterpretara autom谩ticamente obras de Shakespeare o del teatro franc茅s.
"Tragedia en un solo acto" se aclara al comienzo de la obra. Con una adaptaci贸n distinta al episodio b铆blico, Wilde ejecuta este gran acto alrededor de la obsesi贸n, tanto de Herodes, como de Herod铆as y obviamente, de la princesa 厂补濒辞尘茅 transformando la acci贸n en una sucesi贸n de di谩logos efectivos y de final atrapante.
Tiene ingredientes claros de la obra de Wilde: descripciones po茅ticas, con personajes g贸ticos inmersos dentro de un teatro griego, donde 厂补濒辞尘茅 descolla por su magnetismo sexual, que atrae incestuosamente a Herodes, su padre, mientras ella se desvive por Jokana谩n, o Juan el Bautista.
Una mini obra de gran simbolog铆a que posee la cr贸nica de una obsesi贸n anunciada.
September 4, 2019
(Reread, with a friend)
A one-act play not nearly as famous as Wilde鈥檚 other plays, it is nevertheless fascinating. From what I gather, during the time Wilde wrote this, there was a 厂补濒辞尘茅 craze going on. Wilde put his own interpretation on the story, as well as being influenced by a painter; a poet; Flaubert; and a novel (not Flaubert's) he adored. Though not written in his 鈥榯ypical鈥� style, his wit can be discerned; and though his use of repetition may at first sound childish, he makes effective use of it.
In contradiction of the Biblical account, a lustful, vengeful 厂补濒辞尘茅 is front鈥揳nd-center. Herodias is ineffectual: she stands on the sidelines issuing commands that neither her daughter nor her husband pay attention to. 厂补濒辞尘茅 is given power through her intellect, by means of a trick; yet she's also portrayed as unreasonable, irrationally wanting what she wants no matter what. Forbidden or unseen stares are a constant motif, even with the minor characters; yet the one eroticized male is the one who does not look at anyone.
A one-act play not nearly as famous as Wilde鈥檚 other plays, it is nevertheless fascinating. From what I gather, during the time Wilde wrote this, there was a 厂补濒辞尘茅 craze going on. Wilde put his own interpretation on the story, as well as being influenced by a painter; a poet; Flaubert; and a novel (not Flaubert's) he adored. Though not written in his 鈥榯ypical鈥� style, his wit can be discerned; and though his use of repetition may at first sound childish, he makes effective use of it.
In contradiction of the Biblical account, a lustful, vengeful 厂补濒辞尘茅 is front鈥揳nd-center. Herodias is ineffectual: she stands on the sidelines issuing commands that neither her daughter nor her husband pay attention to. 厂补濒辞尘茅 is given power through her intellect, by means of a trick; yet she's also portrayed as unreasonable, irrationally wanting what she wants no matter what. Forbidden or unseen stares are a constant motif, even with the minor characters; yet the one eroticized male is the one who does not look at anyone.
September 9, 2021
厂补濒辞尘茅 needs therapy, hell everyone in this play needs therapy 馃檮
November 15, 2023
Whoo boy, that 厂补濒辞尘茅 chick was a little unstable, wasn't she? I mean, executing the man you 鈥渓ove鈥� (having met him all of ten minutes prior) because he rejects you is one thing, but passionately kissing his decapitated head is taking things just a bit too far.
And let's not even get started on lecherous ol' step-daddy Herod. Ew. At least his creepiness backfired on him, I suppose.
Oh, and for those of you who are fellow heathens, Jokanaan is John the Baptist. Thank you very much to Wikipedia for sorting that out for me 鈥� I should really donate to that fundraiser they have going on right now because their plot summaries have probably saved me a hundred times.
厂补濒辞尘茅 is the first of Oscar Wilde's tragedies that I've read (or listened to), and I have to say that I'm impressed. It obviously lacks the humor of some of his more famous comedic plays, but I still enjoyed it tremendously.
And, as always, the L.A. Theatre Works audiobook recording was perfection. I've loved every one of their productions that have involved James Marsters (who plays Jokanaan), and this one is no exception.
If you like reading about unstable women who can't handle rejection, definitely give this one a go. Or if you like bible stories, I guess. Or icky old men. Or Oscar Wilde. Take your pick as far as the reason goes, but definitely read it when you get the chance. It's a Wild(e) ride.
And let's not even get started on lecherous ol' step-daddy Herod. Ew. At least his creepiness backfired on him, I suppose.
Oh, and for those of you who are fellow heathens, Jokanaan is John the Baptist. Thank you very much to Wikipedia for sorting that out for me 鈥� I should really donate to that fundraiser they have going on right now because their plot summaries have probably saved me a hundred times.
厂补濒辞尘茅 is the first of Oscar Wilde's tragedies that I've read (or listened to), and I have to say that I'm impressed. It obviously lacks the humor of some of his more famous comedic plays, but I still enjoyed it tremendously.
And, as always, the L.A. Theatre Works audiobook recording was perfection. I've loved every one of their productions that have involved James Marsters (who plays Jokanaan), and this one is no exception.
If you like reading about unstable women who can't handle rejection, definitely give this one a go. Or if you like bible stories, I guess. Or icky old men. Or Oscar Wilde. Take your pick as far as the reason goes, but definitely read it when you get the chance. It's a Wild(e) ride.
November 22, 2021
well that was... weird. i feel like oscar wilde was really high.
i read this play in three languages: french, english and spanish and in any of those languages i understood the mean or purpose of this... i was asking myself the entire time "what's the fucking purpose of this? why's salom茅 acting this way? is she really kissing a dead man's head? WHAT THE ACTUAL FUCK?"
and i know i will probably fail my exam of this play, JAKJSHKJHDF wish me luck!
i read this play in three languages: french, english and spanish and in any of those languages i understood the mean or purpose of this... i was asking myself the entire time "what's the fucking purpose of this? why's salom茅 acting this way? is she really kissing a dead man's head? WHAT THE ACTUAL FUCK?"
and i know i will probably fail my exam of this play, JAKJSHKJHDF wish me luck!
August 24, 2007
a gothic classic. particularly pleasing if you are now, or have ever been rejected by a man who thought he was better than you.
off with their heads!
off with their heads!
February 27, 2019
鈥淭he mystery of love is greater than the mystery of death.鈥�
Wilde's Salome was weird and disgusting and also a little satisfying. I can't really talk about any biblical, historical or political backgrounds, but it makes for an entertaining and unusual play that I'd love to see on stage some day.
Wilde's Salome was weird and disgusting and also a little satisfying. I can't really talk about any biblical, historical or political backgrounds, but it makes for an entertaining and unusual play that I'd love to see on stage some day.
February 7, 2010
So this has to be one of the oddest, most oddly enthralling things I've come across in a while. Taken on it's own, Wilde's play isn't much: ponderous, dull. But combine it the whimsical illustrations by Aubrey Beardsley, and through some kind of alchemical wizardry a rather extraordinary intertextual experience is created.
The text itself seems kind of antithetical to what we now associate with Wilde: nowhere to be found is anything resembling wit, snap, humor, double-entendre. Wilde apparently claimed its genesis was as an experiment involving an author writing in a language that is not his own (which, in this particular situation, is more interesting in concept than execution). It certainly has its moments of interest and several moments of undeniable poetry, and does manage to evoke a dreamy, hothouse atmosphere, but I highly doubt you'll find many people proclaiming it as a masterpiece (and those few that do are probably working on a doctoral thesis with a vested interest in proving as much).
But place the text side by side with Aubrey Beardsley's famous illustrations, and suddenly the written text is brimming with resonances it previously did not seem to possess. The most famous line of the play is probably Herod's pronouncement that "it is not wise to find symbols in everything that one sees. It makes life full of terrors." But that's exactly what Beardsley does: he fills his illustrations with symbols, both plucked from the text and from his own imagination, and the results, while at first glance look like the kind of ironically nostalgic thing a trendy San Francisco coffee shop would hang on its walls, become upon closer inspection quite grotesque, even a bit repulsive.
The result? Beardsley's illustrations work to actively retranslate Wilde's text, both locating within it and imposing upon it a kind of subversive sexuality, embroidering upon Wilde's suggestion of quasi-incest with undeniable overtones of bisexuality, homosexuality, and sexual ambiguity and deconstruction of all sorts. Essentially, Beardsley recontextualizes and reconfigures Wilde's play into something much different than it initially seems.
Making it in the end, rather ironically, much more recognizably Wildean.
The text itself seems kind of antithetical to what we now associate with Wilde: nowhere to be found is anything resembling wit, snap, humor, double-entendre. Wilde apparently claimed its genesis was as an experiment involving an author writing in a language that is not his own (which, in this particular situation, is more interesting in concept than execution). It certainly has its moments of interest and several moments of undeniable poetry, and does manage to evoke a dreamy, hothouse atmosphere, but I highly doubt you'll find many people proclaiming it as a masterpiece (and those few that do are probably working on a doctoral thesis with a vested interest in proving as much).
But place the text side by side with Aubrey Beardsley's famous illustrations, and suddenly the written text is brimming with resonances it previously did not seem to possess. The most famous line of the play is probably Herod's pronouncement that "it is not wise to find symbols in everything that one sees. It makes life full of terrors." But that's exactly what Beardsley does: he fills his illustrations with symbols, both plucked from the text and from his own imagination, and the results, while at first glance look like the kind of ironically nostalgic thing a trendy San Francisco coffee shop would hang on its walls, become upon closer inspection quite grotesque, even a bit repulsive.
The result? Beardsley's illustrations work to actively retranslate Wilde's text, both locating within it and imposing upon it a kind of subversive sexuality, embroidering upon Wilde's suggestion of quasi-incest with undeniable overtones of bisexuality, homosexuality, and sexual ambiguity and deconstruction of all sorts. Essentially, Beardsley recontextualizes and reconfigures Wilde's play into something much different than it initially seems.
Making it in the end, rather ironically, much more recognizably Wildean.
January 20, 2024
Bare Bones Edition
Review of the HarperPerennial Classics Kindle eBook (November 25, 2014) of the English language translation (1894) of the French language original (1893).
I read Oscar Wilde's Salome as background for my current reading of Silvia Moreno-Garcia's upcoming (currently available as a NetGalley ARC, expected publication July 16, 2024). Although published under the HarperPerennial Classics imprint there was no introductory essay or background to provide any historical context which you would normally expect in a "classics" edition. A reader interested in those things will have to do a considerable amount of research.
The history of the play can be read on . The (mostly) mythical history of Salome can also be read on . The main points of interest about the play were that it was originally written in French, and even after translation it could not be performed in England (supposedly because of a ban on portraying Biblical characters on stage) due to the public censors. Although the English translation was published in 1894, the translation had to wait until 1931 to be performed.
The other curious thing is the use of the name Jokanaan for John the Baptist. Introducing the letter "k" into the name is odd, as the (Biblical Greek: 峒赶壩轿轿废� / I艒谩nn膿s) doesn't have anything like it. Presumably it comes from the occasional Hebrew spelling as "Jochanan" with the "ch" pronounced as a "k"?
Title page of the original French language edition (1893). Image sourced from Wikipedia.
The Salome portrayed in Wilde's play is an exaggerated fictional figure used to convey various degrees of lust and depravity. Character motivation is slim. Salome lusts for John the Baptist and when he rebuffs her, she takes her revenge by demanding his beheading so that she can finally kiss his lips. Her stepfather, the Tetrarch , horrified at the blood-drenched spectacle, orders his soldiers to end the play. The real life Salome went on to marry 3 times, finally becoming the Queen of Armenia.
The Biblical references (; ) do not give her name, but they do say that it was a daughter of Herodias (wife of Herod Antipas) who brought about John's execution. The later account by Roman/Jewish historian in (A.D. 94) became the source for associating the name of Salome as the previously unidentified daughter.
Original full painting of 鈥淪alome鈥� by (1867-1923), cropped for the HarperPerennial Classics cover. Image sourced from Wikipedia by Carolina Carlesimo - Transferred from it.wikipedia to Commons. 20 October 2011 (original upload date). Original uploader was Gabriele Romani at it.wikipedia, Public Domain, .
Trivia and Links
Salome is in the Public Domain and can be read online at various sites such as .
The original French language 厂补濒辞尘茅 is also in the public domain and can be read online at various sites such as .
Oscar Wilde's Salome has been the inspiration and source of the plot / libretto / screenplay for various ballets, operas and films which are too many to list here. See a list at the Wikipedia for .
Review of the HarperPerennial Classics Kindle eBook (November 25, 2014) of the English language translation (1894) of the French language original (1893).
Ah! I have kissed thy mouth, Jokanaan. I have kissed thy mouth. There was a bitter taste on thy lips. Was it the taste of blood鈥�? But perchance it is the taste of love鈥hey say that love hath a bitter taste鈥ut what of that?
I read Oscar Wilde's Salome as background for my current reading of Silvia Moreno-Garcia's upcoming (currently available as a NetGalley ARC, expected publication July 16, 2024). Although published under the HarperPerennial Classics imprint there was no introductory essay or background to provide any historical context which you would normally expect in a "classics" edition. A reader interested in those things will have to do a considerable amount of research.
The history of the play can be read on . The (mostly) mythical history of Salome can also be read on . The main points of interest about the play were that it was originally written in French, and even after translation it could not be performed in England (supposedly because of a ban on portraying Biblical characters on stage) due to the public censors. Although the English translation was published in 1894, the translation had to wait until 1931 to be performed.
The other curious thing is the use of the name Jokanaan for John the Baptist. Introducing the letter "k" into the name is odd, as the (Biblical Greek: 峒赶壩轿轿废� / I艒谩nn膿s) doesn't have anything like it. Presumably it comes from the occasional Hebrew spelling as "Jochanan" with the "ch" pronounced as a "k"?
Title page of the original French language edition (1893). Image sourced from Wikipedia.
The Salome portrayed in Wilde's play is an exaggerated fictional figure used to convey various degrees of lust and depravity. Character motivation is slim. Salome lusts for John the Baptist and when he rebuffs her, she takes her revenge by demanding his beheading so that she can finally kiss his lips. Her stepfather, the Tetrarch , horrified at the blood-drenched spectacle, orders his soldiers to end the play. The real life Salome went on to marry 3 times, finally becoming the Queen of Armenia.
The Biblical references (; ) do not give her name, but they do say that it was a daughter of Herodias (wife of Herod Antipas) who brought about John's execution. The later account by Roman/Jewish historian in (A.D. 94) became the source for associating the name of Salome as the previously unidentified daughter.
Original full painting of 鈥淪alome鈥� by (1867-1923), cropped for the HarperPerennial Classics cover. Image sourced from Wikipedia by Carolina Carlesimo - Transferred from it.wikipedia to Commons. 20 October 2011 (original upload date). Original uploader was Gabriele Romani at it.wikipedia, Public Domain, .
Trivia and Links
Salome is in the Public Domain and can be read online at various sites such as .
The original French language 厂补濒辞尘茅 is also in the public domain and can be read online at various sites such as .
Oscar Wilde's Salome has been the inspiration and source of the plot / libretto / screenplay for various ballets, operas and films which are too many to list here. See a list at the Wikipedia for .
July 1, 2017
螆谓伪 蔚尉伪喂蟻蔚蟿喂魏蠈 胃蔚伪蟿蟻喂魏蠈 苇蟻纬慰, 魏维蟿喂 蔚谓蟿蔚位蠋蟼 未喂伪蠁慰蟻蔚蟿喂魏蠈. 螚 危伪位蠋渭畏 蠁喂位维蔚喂 纬喂伪 蟺蟻蠋蟿畏 蠁慰蟻维 蟿慰 魏蔚蠁维位喂 蟿慰蠀 螜蠅维谓谓畏... 韦慰 未喂维尾伪蟽伪 蟽蟿慰 纬伪位位喂魏蠈 蟺蟻蠅蟿蠈蟿蠀蟺慰, 慰 螣蠀维喂位谓蟿 蟿慰 苇纬蟻伪蠄蔚 蟽蟿伪 纬伪位位喂魏维 蟺蟻蠋蟿伪 魏伪喂 苇蟺蔚喂蟿伪 蟿慰 渭蔚蟿苇蠁蟻伪蟽蔚 蟽蟿伪 伪纬纬位喂魏维. 螒魏慰位慰蠀胃蔚委 苇谓伪 伪纬伪蟺畏渭苇谓慰 渭慰蠀 魏慰渭渭维蟿喂 蠈蟺慰蠀 渭喂位维蔚喂 畏 危伪位蠋渭畏, 蟽蔚 未喂魏萎 渭慰蠀 渭蔚蟿维蠁蟻伪蟽畏 伪蟺蠈 蟿慰 纬伪位位喂魏蠈 蟺蟻蠅蟿蠈蟿蠀蟺慰.
A! 螖蔚 渭' 维蠁畏蟽蔚蟼 谓伪 蟽蔚 蠁喂位萎蟽蠅, 螜蠅维谓谓畏! 惟蟻伪委伪 位慰喂蟺蠈谓! 螛伪 蟽蔚 蠁喂位萎蟽蠅 蟿蠋蟻伪. 螛伪 未伪纬魏蠋蟽蠅 蟿慰 蟽蟿蠈渭伪 蟽慰蠀 蠈蟺蠅蟼 胃伪 未维纬魏蠅谓伪 苇谓伪 蠋蟻喂渭慰 蠁蟻慰蠉蟿慰. 螡伪喂, 胃伪 蟽蔚 蠁喂位萎蟽蠅, 螜蠅维谓谓畏. 危蟿慰 '蠂伪 蟺蔚喂, 苇蟿蟽喂 未蔚谓 蔚委谓伪喂; 螛伪 蟽蔚 蠁喂位萎蟽蠅 蟿蠋蟻伪 魏喂蠈位伪蟼... 螠伪 纬喂伪蟿委 未蔚谓 渭蔚 魏慰喂蟿维蟼, 螜蠅维谓谓畏; 韦伪 渭维蟿喂伪 蟽慰蠀, 蟺慰蠀 魏维蟺慰蟿蔚 萎蟿伪谓 蟿蠈蟽慰 蠁蟻喂蠂蟿维, 尾蠀胃喂蟽渭苇谓伪 蟽蟿畏谓 慰蟻纬萎 魏伪喂 蟿慰 渭委蟽慰蟼, 蟿蠋蟻伪 蟽蠁维位喂蟽伪谓. 螕喂伪蟿委 蔚委谓伪喂 蟽蠁伪位喂蟽蟿维; 螁谓慰喂尉苇 蟿伪! 螝慰蠉谓畏蟽蔚 蟿伪 尾位苇蠁伪蟻维 蟽慰蠀, 螜蠅维谓谓畏. 螕喂伪蟿委 未蔚谓 渭蔚 魏慰喂蟿维蟼; 螠蔚 蠁慰尾维蟽伪喂, 螜蠅维谓谓畏, 纬喂伪 伪蠀蟿蠈 未蔚 胃蔚蟼 谓伪 渭蔚 魏慰喂蟿维尉蔚喂蟼; 螝伪喂 畏 纬位蠋蟽蟽伪 蟽慰蠀 蟺慰蠀 萎蟿伪谓 苇谓伪 蠁委未喂 魏蠈魏魏喂谓慰 蟺慰蠀 苇蠂蠀谓蔚 未畏位畏蟿萎蟻喂慰, 未蔚谓 蟽伪位蔚蠉蔚喂 蟺喂伪, 魏伪喂 未蔚 位苇蔚喂 蟿委蟺慰蟿伪 蟺喂伪, 螜蠅维谓谓畏, 伪蠀蟿萎 畏 魏蠈魏魏喂谓畏 慰蠂喂维 蟺慰蠀 蟿蠈蟽慰 未畏位畏蟿萎蟻喂慰 苇蠂蠀蟽蔚 纬喂伪 渭苇谓伪. 螤伪蟻维尉蔚谓慰 未蔚谓 蔚委谓伪喂; 螤蠋蟼 纬委谓蔚蟿伪喂 谓伪 渭畏 蟽伪位蔚蠉蔚喂 蟺喂伪 畏 魏蠈魏魏喂谓畏 慰蠂喂维;... 螖蔚谓 渭蔚 萎胃蔚位蔚蟼, 螜蠅维谓谓畏. 螠蔚 伪蟺苇蟻蟻喂蠄蔚蟼. 螢蔚蟽蟿蠈渭喂蟽蔚蟼 位蠈纬喂伪 伪喂蟽蠂蟻维. 螠慰蠀 蠁苇蟻胃畏魏蔚蟼 蟽伪谓 谓伪 萎渭慰蠀谓 蟺蠈蟻谓畏, 纬蠉谓伪喂慰, 蔚渭苇谓伪, 蟿畏 危伪位蠋渭畏, 魏蠈蟻畏 蟿畏蟼 螚蟻蠅未喂维未伪蟼, 螤蟻喂纬魏委蟺喂蟽蟽伪 蟿畏蟼 螜慰蠀未伪委伪蟼!
螝伪位维 位慰喂蟺蠈谓, 螜蠅维谓谓畏, 蔚纬蠋 蔚委渭伪喂 伪魏蠈渭伪 味蠅谓蟿伪谓萎, 伪位位维 蔚蟽蠉 蔚委蟽伪喂 谓蔚魏蟻蠈蟼 魏伪喂 蟿慰 魏蔚蠁维位喂 蟽慰蠀 蔚委谓伪喂 蟺位苇慰谓 未喂魏蠈 渭慰蠀. 螠蟺慰蟻蠋 谓伪 蟿慰 魏维谓蠅 蠈,蟿喂 胃苇位蠅. 螠蟺慰蟻蠋 谓伪 蟿慰 蟺蔚蟿维尉蠅 蟽蟿伪 蟽魏蠀位喂维 萎 蟽蟿伪 蠈蟻谓喂伪. 螌,蟿喂 伪蠁萎蟽慰蠀谓 慰喂 蟽魏蠉位慰喂, 胃伪 蟿慰 蠁维谓蔚 蟿伪 蠈蟻谓喂伪... 螒蠂! 螜蠅维谓谓畏, 螜蠅维谓谓畏, 萎蟽慰蠀谓 慰 渭蠈谓慰蟼 维谓蟿蟻伪蟼 蟺慰蠀 伪纬维蟺畏蟽伪. 螌位慰喂 慰喂 维位位慰喂 渭蔚 伪畏未喂维味慰蠀谓. 螒位位维 蔚蟽蠉, 蔚蟽蠉 萎蟽慰蠀谓 蠈渭慰蟻蠁慰蟼. 韦慰 蟽蠋渭伪 蟽慰蠀 萎蟿伪谓 蟽伪谓 蠁委位谓蟿喂蟽喂 蟺维谓蠅 蟽蟿慰 伪蟽萎渭喂. 螇蟿伪谓 蟽伪谓 魏萎蟺慰蟼 纬蔚渭维蟿慰蟼 伪蟽畏渭苇谓喂伪 蟺蔚蟻喂蟽蟿苇蟻喂伪 魏伪喂 魏蟻委谓伪. 螇蟿伪谓 蟽伪谓 蟺蠉蟻纬慰蟼 伪蟺蠈 伪蟽萎渭喂 渭蔚 蟽蟿慰位委未喂伪 蟿喂蟼 蠁喂位谓蟿喂蟽苇谓喂蔚蟼 蟿慰蠀 伪蟽蟺委未蔚蟼. 韦委蟺慰蟿伪 蟽蟿慰谓 魏蠈蟽渭慰 未蔚谓 萎蟿伪谓 蟿蠈蟽慰 位蔚蠀魏蠈 蠈蟽慰 蟿慰 魏慰蟻渭委 蟽慰蠀. 韦蠈蟽慰 渭伪蠉蟻慰 蠈蟽慰 蟿伪 渭伪位位喂维 蟽慰蠀. 危蔚 慰位蠈魏位畏蟻慰 蟿慰谓 魏蠈蟽渭慰 未蔚谓 蠀蟺萎蟻蠂蔚 蟿委蟺慰蟿蔚 蟿蠈蟽慰 魏蠈魏魏喂谓慰 蠈蟽慰 蟿慰 蟽蟿蠈渭伪 蟽慰蠀. 螚 蠁蠅谓萎 蟽慰蠀 萎蟿伪谓 胃蠀渭喂伪蟿蠈 蟺慰蠀 伪谓苇未喂未蔚 伪蟻蠋渭伪蟿伪 蟺伪蟻维尉蔚谓伪, 魏伪喂 蠈蟺慰蟿蔚 蟽' 苇尾位蔚蟺伪 维魏慰蠀纬伪 渭喂伪 伪蟺蠈魏慰蟽渭畏 渭蔚位蠅未委伪!
螒蠂! 螕喂伪蟿委 未蔚 渭蔚 魏慰委蟿伪尉蔚蟼 螜蠅维谓谓畏; 螆魏蟻蠀蠄蔚蟼 蟿慰 蟺蟻蠈蟽蠅蟺慰 蟽慰蠀 蟺委蟽蠅 伪蟺蠈 蟿伪 蠂苇蟻喂伪 魏伪喂 蟺委蟽蠅 伪蟺蝿 蟿喂蟼 尾位伪蟽蠁萎渭喂蔚蟼 蟽慰蠀. 螝维位蠀蠄蔚蟼 蟿伪 渭维蟿喂伪 蟽慰蠀 渭蔚 蟿慰 蟺苇蟺位慰 蔚魏蔚委谓慰蠀 蟺慰蠀 胃苇位蔚喂 谓伪 伪谓蟿喂魏蟻蠉蟽蔚喂 蟿慰谓 螛蔚蠈 蟿慰蠀. 螘 位慰喂蟺蠈谓, 蟿慰谓 蔚委未蔚蟼 蟿慰谓 螛蔚蠈 蟽慰蠀, 螜蠅维谓谓畏, 伪位位维 蔚渭苇谓伪, 蔚渭苇谓伪... 蔚渭苇谓伪 未蔚 渭蔚 蔚委未蔚蟼. 螒谓 渭' 苇尾位蔚蟺蔚蟼 胃伪 渭蔚 蔚委蠂蔚蟼 伪纬伪蟺萎蟽蔚喂. 螘纬蠋 蠈渭蠅蟼 蟽蔚 蔚委未伪, 螜蠅维谓谓畏, 魏伪喂 蟽' 伪纬维蟺畏蟽伪. 惟! 螤蠈蟽慰 蟺慰位蠉 蟽蝿 伪纬维蟺畏蟽伪. 螒魏蠈渭伪 蟽' 伪纬伪蟺蠋 螜蠅维谓谓畏. 螠蠈谓慰 蔚蟽苇谓伪 伪纬伪蟺蠋... 螖喂蠄蠋 纬喂伪 蟿畏谓 慰渭慰蟻蠁喂维 蟽慰蠀. 螛苇位蠅 谓伪 蠂慰蟻蟿维蟽蠅 渭蔚 蟿慰 蟽蠋渭伪 蟽慰蠀. 螝喂 慰蠉蟿蔚 蟿慰 魏蟻伪蟽委, 慰蠉蟿蔚 蟿伪 蠁蟻慰蠉蟿伪 渭蟺慰蟻慰蠉谓 谓伪 渭蔚 喂魏伪谓慰蟺慰喂萎蟽慰蠀谓. 韦喂 胃伪 魏维谓蠅 蟿蠋蟻伪 螜蠅维谓谓畏; 韦伪 蟺慰蟿维渭喂伪 魏伪喂 慰喂 魏伪蟿伪蟻蟻维魏蟿蔚蟼 未蔚谓 渭蟺慰蟻慰蠉谓 谓伪 蟽尾萎蟽慰蠀谓 蟿慰 蟺维胃慰蟼 渭慰蠀. 螇渭慰蠀谓 螤蟻喂纬魏委蟺喂蟽蟽伪, 渭蔚 蟺蔚蟻喂蠁蟻蠈谓畏蟽蔚蟼. 螇渭慰蠀谓 维谓胃慰蟼 蟺伪蟻胃苇谓慰 魏伪喂 蔚蟽蠉 渭蔚 渭委伪谓蔚蟼. 螇渭慰蠀谓 伪纬谓萎, 魏伪喂 蔚蟽蠉 苇尾伪位蔚蟼 蠁蠅蟿喂维 蟽蟿慰 伪委渭伪 渭慰蠀. 螒蠂! 螒蠂! 螕喂伪蟿委 未蔚谓 渭蔚 魏慰委蟿伪尉蔚蟼 螜蠅维谓谓畏; 螒谓 渭蔚 魏慰喂蟿慰蠉蟽蔚蟼 胃伪 渭蔚 蔚委蠂蔚蟼 伪纬伪蟺萎蟽蔚喂. 螘委渭伪喂 蟽委纬慰蠀蟻畏 蟺蠅蟼 胃伪 渭蔚 伪纬伪蟺慰蠉蟽蔚蟼, 蟿慰 渭蠀蟽蟿萎蟻喂慰 蟿畏蟼 伪纬维蟺畏蟼 蔚委谓伪喂 蟺喂慰 蟽蟺慰蠀未伪委慰 伪蟺蠈 蟿慰 渭蠀蟽蟿萎蟻喂慰 蟿慰蠀 胃伪谓维蟿慰蠀. 螠蠈谓慰 蟿畏谓 伪纬维蟺畏 蟺蟻苇蟺蔚喂 谓伪 蔚蟺喂未喂蠋魏蔚喂蟼.
A! 螖蔚 渭' 维蠁畏蟽蔚蟼 谓伪 蟽蔚 蠁喂位萎蟽蠅, 螜蠅维谓谓畏! 惟蟻伪委伪 位慰喂蟺蠈谓! 螛伪 蟽蔚 蠁喂位萎蟽蠅 蟿蠋蟻伪. 螛伪 未伪纬魏蠋蟽蠅 蟿慰 蟽蟿蠈渭伪 蟽慰蠀 蠈蟺蠅蟼 胃伪 未维纬魏蠅谓伪 苇谓伪 蠋蟻喂渭慰 蠁蟻慰蠉蟿慰. 螡伪喂, 胃伪 蟽蔚 蠁喂位萎蟽蠅, 螜蠅维谓谓畏. 危蟿慰 '蠂伪 蟺蔚喂, 苇蟿蟽喂 未蔚谓 蔚委谓伪喂; 螛伪 蟽蔚 蠁喂位萎蟽蠅 蟿蠋蟻伪 魏喂蠈位伪蟼... 螠伪 纬喂伪蟿委 未蔚谓 渭蔚 魏慰喂蟿维蟼, 螜蠅维谓谓畏; 韦伪 渭维蟿喂伪 蟽慰蠀, 蟺慰蠀 魏维蟺慰蟿蔚 萎蟿伪谓 蟿蠈蟽慰 蠁蟻喂蠂蟿维, 尾蠀胃喂蟽渭苇谓伪 蟽蟿畏谓 慰蟻纬萎 魏伪喂 蟿慰 渭委蟽慰蟼, 蟿蠋蟻伪 蟽蠁维位喂蟽伪谓. 螕喂伪蟿委 蔚委谓伪喂 蟽蠁伪位喂蟽蟿维; 螁谓慰喂尉苇 蟿伪! 螝慰蠉谓畏蟽蔚 蟿伪 尾位苇蠁伪蟻维 蟽慰蠀, 螜蠅维谓谓畏. 螕喂伪蟿委 未蔚谓 渭蔚 魏慰喂蟿维蟼; 螠蔚 蠁慰尾维蟽伪喂, 螜蠅维谓谓畏, 纬喂伪 伪蠀蟿蠈 未蔚 胃蔚蟼 谓伪 渭蔚 魏慰喂蟿维尉蔚喂蟼; 螝伪喂 畏 纬位蠋蟽蟽伪 蟽慰蠀 蟺慰蠀 萎蟿伪谓 苇谓伪 蠁委未喂 魏蠈魏魏喂谓慰 蟺慰蠀 苇蠂蠀谓蔚 未畏位畏蟿萎蟻喂慰, 未蔚谓 蟽伪位蔚蠉蔚喂 蟺喂伪, 魏伪喂 未蔚 位苇蔚喂 蟿委蟺慰蟿伪 蟺喂伪, 螜蠅维谓谓畏, 伪蠀蟿萎 畏 魏蠈魏魏喂谓畏 慰蠂喂维 蟺慰蠀 蟿蠈蟽慰 未畏位畏蟿萎蟻喂慰 苇蠂蠀蟽蔚 纬喂伪 渭苇谓伪. 螤伪蟻维尉蔚谓慰 未蔚谓 蔚委谓伪喂; 螤蠋蟼 纬委谓蔚蟿伪喂 谓伪 渭畏 蟽伪位蔚蠉蔚喂 蟺喂伪 畏 魏蠈魏魏喂谓畏 慰蠂喂维;... 螖蔚谓 渭蔚 萎胃蔚位蔚蟼, 螜蠅维谓谓畏. 螠蔚 伪蟺苇蟻蟻喂蠄蔚蟼. 螢蔚蟽蟿蠈渭喂蟽蔚蟼 位蠈纬喂伪 伪喂蟽蠂蟻维. 螠慰蠀 蠁苇蟻胃畏魏蔚蟼 蟽伪谓 谓伪 萎渭慰蠀谓 蟺蠈蟻谓畏, 纬蠉谓伪喂慰, 蔚渭苇谓伪, 蟿畏 危伪位蠋渭畏, 魏蠈蟻畏 蟿畏蟼 螚蟻蠅未喂维未伪蟼, 螤蟻喂纬魏委蟺喂蟽蟽伪 蟿畏蟼 螜慰蠀未伪委伪蟼!
螝伪位维 位慰喂蟺蠈谓, 螜蠅维谓谓畏, 蔚纬蠋 蔚委渭伪喂 伪魏蠈渭伪 味蠅谓蟿伪谓萎, 伪位位维 蔚蟽蠉 蔚委蟽伪喂 谓蔚魏蟻蠈蟼 魏伪喂 蟿慰 魏蔚蠁维位喂 蟽慰蠀 蔚委谓伪喂 蟺位苇慰谓 未喂魏蠈 渭慰蠀. 螠蟺慰蟻蠋 谓伪 蟿慰 魏维谓蠅 蠈,蟿喂 胃苇位蠅. 螠蟺慰蟻蠋 谓伪 蟿慰 蟺蔚蟿维尉蠅 蟽蟿伪 蟽魏蠀位喂维 萎 蟽蟿伪 蠈蟻谓喂伪. 螌,蟿喂 伪蠁萎蟽慰蠀谓 慰喂 蟽魏蠉位慰喂, 胃伪 蟿慰 蠁维谓蔚 蟿伪 蠈蟻谓喂伪... 螒蠂! 螜蠅维谓谓畏, 螜蠅维谓谓畏, 萎蟽慰蠀谓 慰 渭蠈谓慰蟼 维谓蟿蟻伪蟼 蟺慰蠀 伪纬维蟺畏蟽伪. 螌位慰喂 慰喂 维位位慰喂 渭蔚 伪畏未喂维味慰蠀谓. 螒位位维 蔚蟽蠉, 蔚蟽蠉 萎蟽慰蠀谓 蠈渭慰蟻蠁慰蟼. 韦慰 蟽蠋渭伪 蟽慰蠀 萎蟿伪谓 蟽伪谓 蠁委位谓蟿喂蟽喂 蟺维谓蠅 蟽蟿慰 伪蟽萎渭喂. 螇蟿伪谓 蟽伪谓 魏萎蟺慰蟼 纬蔚渭维蟿慰蟼 伪蟽畏渭苇谓喂伪 蟺蔚蟻喂蟽蟿苇蟻喂伪 魏伪喂 魏蟻委谓伪. 螇蟿伪谓 蟽伪谓 蟺蠉蟻纬慰蟼 伪蟺蠈 伪蟽萎渭喂 渭蔚 蟽蟿慰位委未喂伪 蟿喂蟼 蠁喂位谓蟿喂蟽苇谓喂蔚蟼 蟿慰蠀 伪蟽蟺委未蔚蟼. 韦委蟺慰蟿伪 蟽蟿慰谓 魏蠈蟽渭慰 未蔚谓 萎蟿伪谓 蟿蠈蟽慰 位蔚蠀魏蠈 蠈蟽慰 蟿慰 魏慰蟻渭委 蟽慰蠀. 韦蠈蟽慰 渭伪蠉蟻慰 蠈蟽慰 蟿伪 渭伪位位喂维 蟽慰蠀. 危蔚 慰位蠈魏位畏蟻慰 蟿慰谓 魏蠈蟽渭慰 未蔚谓 蠀蟺萎蟻蠂蔚 蟿委蟺慰蟿蔚 蟿蠈蟽慰 魏蠈魏魏喂谓慰 蠈蟽慰 蟿慰 蟽蟿蠈渭伪 蟽慰蠀. 螚 蠁蠅谓萎 蟽慰蠀 萎蟿伪谓 胃蠀渭喂伪蟿蠈 蟺慰蠀 伪谓苇未喂未蔚 伪蟻蠋渭伪蟿伪 蟺伪蟻维尉蔚谓伪, 魏伪喂 蠈蟺慰蟿蔚 蟽' 苇尾位蔚蟺伪 维魏慰蠀纬伪 渭喂伪 伪蟺蠈魏慰蟽渭畏 渭蔚位蠅未委伪!
螒蠂! 螕喂伪蟿委 未蔚 渭蔚 魏慰委蟿伪尉蔚蟼 螜蠅维谓谓畏; 螆魏蟻蠀蠄蔚蟼 蟿慰 蟺蟻蠈蟽蠅蟺慰 蟽慰蠀 蟺委蟽蠅 伪蟺蠈 蟿伪 蠂苇蟻喂伪 魏伪喂 蟺委蟽蠅 伪蟺蝿 蟿喂蟼 尾位伪蟽蠁萎渭喂蔚蟼 蟽慰蠀. 螝维位蠀蠄蔚蟼 蟿伪 渭维蟿喂伪 蟽慰蠀 渭蔚 蟿慰 蟺苇蟺位慰 蔚魏蔚委谓慰蠀 蟺慰蠀 胃苇位蔚喂 谓伪 伪谓蟿喂魏蟻蠉蟽蔚喂 蟿慰谓 螛蔚蠈 蟿慰蠀. 螘 位慰喂蟺蠈谓, 蟿慰谓 蔚委未蔚蟼 蟿慰谓 螛蔚蠈 蟽慰蠀, 螜蠅维谓谓畏, 伪位位维 蔚渭苇谓伪, 蔚渭苇谓伪... 蔚渭苇谓伪 未蔚 渭蔚 蔚委未蔚蟼. 螒谓 渭' 苇尾位蔚蟺蔚蟼 胃伪 渭蔚 蔚委蠂蔚蟼 伪纬伪蟺萎蟽蔚喂. 螘纬蠋 蠈渭蠅蟼 蟽蔚 蔚委未伪, 螜蠅维谓谓畏, 魏伪喂 蟽' 伪纬维蟺畏蟽伪. 惟! 螤蠈蟽慰 蟺慰位蠉 蟽蝿 伪纬维蟺畏蟽伪. 螒魏蠈渭伪 蟽' 伪纬伪蟺蠋 螜蠅维谓谓畏. 螠蠈谓慰 蔚蟽苇谓伪 伪纬伪蟺蠋... 螖喂蠄蠋 纬喂伪 蟿畏谓 慰渭慰蟻蠁喂维 蟽慰蠀. 螛苇位蠅 谓伪 蠂慰蟻蟿维蟽蠅 渭蔚 蟿慰 蟽蠋渭伪 蟽慰蠀. 螝喂 慰蠉蟿蔚 蟿慰 魏蟻伪蟽委, 慰蠉蟿蔚 蟿伪 蠁蟻慰蠉蟿伪 渭蟺慰蟻慰蠉谓 谓伪 渭蔚 喂魏伪谓慰蟺慰喂萎蟽慰蠀谓. 韦喂 胃伪 魏维谓蠅 蟿蠋蟻伪 螜蠅维谓谓畏; 韦伪 蟺慰蟿维渭喂伪 魏伪喂 慰喂 魏伪蟿伪蟻蟻维魏蟿蔚蟼 未蔚谓 渭蟺慰蟻慰蠉谓 谓伪 蟽尾萎蟽慰蠀谓 蟿慰 蟺维胃慰蟼 渭慰蠀. 螇渭慰蠀谓 螤蟻喂纬魏委蟺喂蟽蟽伪, 渭蔚 蟺蔚蟻喂蠁蟻蠈谓畏蟽蔚蟼. 螇渭慰蠀谓 维谓胃慰蟼 蟺伪蟻胃苇谓慰 魏伪喂 蔚蟽蠉 渭蔚 渭委伪谓蔚蟼. 螇渭慰蠀谓 伪纬谓萎, 魏伪喂 蔚蟽蠉 苇尾伪位蔚蟼 蠁蠅蟿喂维 蟽蟿慰 伪委渭伪 渭慰蠀. 螒蠂! 螒蠂! 螕喂伪蟿委 未蔚谓 渭蔚 魏慰委蟿伪尉蔚蟼 螜蠅维谓谓畏; 螒谓 渭蔚 魏慰喂蟿慰蠉蟽蔚蟼 胃伪 渭蔚 蔚委蠂蔚蟼 伪纬伪蟺萎蟽蔚喂. 螘委渭伪喂 蟽委纬慰蠀蟻畏 蟺蠅蟼 胃伪 渭蔚 伪纬伪蟺慰蠉蟽蔚蟼, 蟿慰 渭蠀蟽蟿萎蟻喂慰 蟿畏蟼 伪纬维蟺畏蟼 蔚委谓伪喂 蟺喂慰 蟽蟺慰蠀未伪委慰 伪蟺蠈 蟿慰 渭蠀蟽蟿萎蟻喂慰 蟿慰蠀 胃伪谓维蟿慰蠀. 螠蠈谓慰 蟿畏谓 伪纬维蟺畏 蟺蟻苇蟺蔚喂 谓伪 蔚蟺喂未喂蠋魏蔚喂蟼.
March 29, 2024
螌蟺慰喂蔚蟼 伪未蠀谓伪渭委蔚蟼 魏伪喂 伪谓 尾蟻萎魏伪 蟽蟿畏谓 蟽蠀纬魏蔚魏蟻喂渭苇谓畏 苇魏未慰蟽畏, 蟿喂蟼 蟽魏苇蟺伪蟽蔚 蠈位蔚蟼 蟿慰 蟽蠀纬魏位慰谓喂蟽蟿喂魏蠈 蔚蟺委渭蔚蟿蟻慰 蟿慰蠀 螛伪谓维蟽畏 韦蟻喂伪蟻委未畏. 螒蟺蠈 蟿畏谓 蟺蟻蠋蟿畏 魏喂蠈位伪蟼 蟺伪蟻维纬蟻伪蠁慰 渭蔚 蠂蟿蠉蟺畏蟽蔚 蟻蔚蠉渭伪. 螖蔚谓 苇蠂蠅 位蠈纬喂伪, 蔚喂位喂魏蟻喂谓维.
July 23, 2020
"Bien est谩 que cambie el agua en vino,
que sane a los leprosos
y d茅 vista a los ciegos...,
todo eso puede hacerlo, si le place.
No me opongo: es m谩s,
hasta me parece una buena obra curar a los enfermos;
pero no le permito resucita a los muertos.
隆Ser铆a terrible que los muertos volviesen a este mundo!"
Es una obra de teatro de un solo acto. Lo que a m铆 por un lado me desagrad贸 y por otra me hace no ser tan severo con esta pieza de teatro.
El argumento es bastante conocido, el destino de Juan el Bautista (Jokanaan) a manos de 厂补濒辞尘茅, la hija de Herod铆as (esposa de la autoridad m谩xima de Judea: Herodes). Herodes por un lado tiene preso a Jokanaan por su catolicismo y sus profec铆as aunque siente gran respeto por 茅l debido a que teme que realmente conozca y sirva a Dios.
La escena est谩 muy bien pensada como para un acto, estamos ante el profeta preso y en el conjunto una serie de personajes "tipo" como soldados, sirios, jud铆os, romanos, Etc. Eso me pareci贸 bien hecho y la manera c贸mo interact煤an, me gust贸 el desenlace de Narraboth particularmente.
Por otra parte se trasluce la intenci贸n en cierta manera er贸tica y pasional que rodea al personaje de 厂补濒辞尘茅 quien actuado seguro tendr谩 un mejor desenlace pues el texto no me parece descollante con respecto a otras obras de teatro, en realidad la trama est谩 bastante fiel al original hist贸rico y no veo grandes variaciones, si bien desde luego Wilde carga las tintas en el deseo de Herodes por su hijastra, en el poder de seducci贸n de 厂补濒辞尘茅, que lleva a alg煤n grado de "locura" en todos los personajes dir铆a. Ese sello me parece particular del autor aunque no es tanto de mi agrado.
Creo que debi贸 ser innovador para la 茅poca por los parlamentos que los veo bastante modernos e incluso abusados actualmente en el teatro contempor谩neo que no son muy de mi gusto; hay tambi茅n pasajes con frases medio recargadas que no dan tanto sentido. Con respecto al tema no le veo tan gran esc谩ndalo aunque ya en su momento fue censurado, quiz谩s, como tantos otros casos, ha sido la causa de su popularidad. Y cuando una obra es recordada m谩s por el esc谩ndalo que caus贸 muchas veces no se defiende por s铆 misma.
De a puro gusto le hubiera puesto un 2, pero es innegable que es una buena estructura para un solo acto y que tiene su cuota personal. Sin embargo, no me parece una obra memorable.
que sane a los leprosos
y d茅 vista a los ciegos...,
todo eso puede hacerlo, si le place.
No me opongo: es m谩s,
hasta me parece una buena obra curar a los enfermos;
pero no le permito resucita a los muertos.
隆Ser铆a terrible que los muertos volviesen a este mundo!"
Es una obra de teatro de un solo acto. Lo que a m铆 por un lado me desagrad贸 y por otra me hace no ser tan severo con esta pieza de teatro.
El argumento es bastante conocido, el destino de Juan el Bautista (Jokanaan) a manos de 厂补濒辞尘茅, la hija de Herod铆as (esposa de la autoridad m谩xima de Judea: Herodes). Herodes por un lado tiene preso a Jokanaan por su catolicismo y sus profec铆as aunque siente gran respeto por 茅l debido a que teme que realmente conozca y sirva a Dios.
La escena est谩 muy bien pensada como para un acto, estamos ante el profeta preso y en el conjunto una serie de personajes "tipo" como soldados, sirios, jud铆os, romanos, Etc. Eso me pareci贸 bien hecho y la manera c贸mo interact煤an, me gust贸 el desenlace de Narraboth particularmente.
Por otra parte se trasluce la intenci贸n en cierta manera er贸tica y pasional que rodea al personaje de 厂补濒辞尘茅 quien actuado seguro tendr谩 un mejor desenlace pues el texto no me parece descollante con respecto a otras obras de teatro, en realidad la trama est谩 bastante fiel al original hist贸rico y no veo grandes variaciones, si bien desde luego Wilde carga las tintas en el deseo de Herodes por su hijastra, en el poder de seducci贸n de 厂补濒辞尘茅, que lleva a alg煤n grado de "locura" en todos los personajes dir铆a. Ese sello me parece particular del autor aunque no es tanto de mi agrado.
Creo que debi贸 ser innovador para la 茅poca por los parlamentos que los veo bastante modernos e incluso abusados actualmente en el teatro contempor谩neo que no son muy de mi gusto; hay tambi茅n pasajes con frases medio recargadas que no dan tanto sentido. Con respecto al tema no le veo tan gran esc谩ndalo aunque ya en su momento fue censurado, quiz谩s, como tantos otros casos, ha sido la causa de su popularidad. Y cuando una obra es recordada m谩s por el esc谩ndalo que caus贸 muchas veces no se defiende por s铆 misma.
De a puro gusto le hubiera puesto un 2, pero es innegable que es una buena estructura para un solo acto y que tiene su cuota personal. Sin embargo, no me parece una obra memorable.
December 17, 2021
Oscar Wilde's one-act tragedy that he wrote in french is a wild(e) ride. 馃う鈥嶁檧锔忦煒�
It depicts the events leading to the execution of Iokanaan (John the Baptist) at the instigation of Salome, step-daughter of Herod Antipas, Tetrarch of Judea, and although Wilde changed minor details, most of the plot stays loyal to the original biblical story.
The most interesting aspect of Wilde's version is the sense that everyone is under some kind of spell, except Herodias, Salome's mother. She is logical and calculating as opposed to the others who seem to be totally out of control. Her frank and matter of fact dialog is in great contrast with the manic nature of the others'. When I was reading the play I made jokes in my stories about how everyone in this play seems to be high. See it for yourself:
Salome: "How good to see the moon! She is like a little piece of money. You would think she was a little silver flower. The moon is cold and chaste. I am sure she is a virgin, she has a virgin's beauty. Yes, she is a virgin. She has never defiled herself. She has never abandoned herself to men, like the other goddesses."
At the beginning of the play Salome is a femme fatale type of character with considerable power due to her stepfather's infatuation with her, but she goes through a transformation and ends up becoming a victim herself. I didn't expect the ending at all. Wilde turns her into a crazy bitch and I don't know why, but find it very fascinating.
All in all, it wasn't my favourite play of his, but I can't stop thinking about it either.
There are a few different adaptations, I already watched the Al Pacino/Jessica Chastain version and planning to check out the Strauss opera next.
Have you read this play? If so, what did you think? Were you scandalized by the ending? 馃槅
It depicts the events leading to the execution of Iokanaan (John the Baptist) at the instigation of Salome, step-daughter of Herod Antipas, Tetrarch of Judea, and although Wilde changed minor details, most of the plot stays loyal to the original biblical story.
The most interesting aspect of Wilde's version is the sense that everyone is under some kind of spell, except Herodias, Salome's mother. She is logical and calculating as opposed to the others who seem to be totally out of control. Her frank and matter of fact dialog is in great contrast with the manic nature of the others'. When I was reading the play I made jokes in my stories about how everyone in this play seems to be high. See it for yourself:
Salome: "How good to see the moon! She is like a little piece of money. You would think she was a little silver flower. The moon is cold and chaste. I am sure she is a virgin, she has a virgin's beauty. Yes, she is a virgin. She has never defiled herself. She has never abandoned herself to men, like the other goddesses."
At the beginning of the play Salome is a femme fatale type of character with considerable power due to her stepfather's infatuation with her, but she goes through a transformation and ends up becoming a victim herself. I didn't expect the ending at all. Wilde turns her into a crazy bitch and I don't know why, but find it very fascinating.
All in all, it wasn't my favourite play of his, but I can't stop thinking about it either.
There are a few different adaptations, I already watched the Al Pacino/Jessica Chastain version and planning to check out the Strauss opera next.
Have you read this play? If so, what did you think? Were you scandalized by the ending? 馃槅
February 13, 2017
...the mystery of love is greater than the mystery of death.
I bow to the greatness of Oscar Wilde. This was the strangest work of his that I have read and trust me I've read almost everything that this man has written. It lacked the distinguishable witty, sarcastic style of his and most importantly his quotes, but that didn't make it any less interesting.
Salome is a play based on biblical figures and many symbols can be found here. It's short and clever. I repeat this isn't the typical Oscar Wilde that we are familiar with, but still it's worth reading.
I bow to the greatness of Oscar Wilde. This was the strangest work of his that I have read and trust me I've read almost everything that this man has written. It lacked the distinguishable witty, sarcastic style of his and most importantly his quotes, but that didn't make it any less interesting.
Salome is a play based on biblical figures and many symbols can be found here. It's short and clever. I repeat this isn't the typical Oscar Wilde that we are familiar with, but still it's worth reading.
September 27, 2023
鉁� 3 stars
~
everyone in this is severely ill & now i鈥檝e read my first oscar wilde story
~
everyone in this is severely ill & now i鈥檝e read my first oscar wilde story
August 20, 2021
Interesting read, I wish I knew Oscar Wilde has written this play in French originaly, I would not have bought this in English.
Not my favorite of Wilde's work but the biblical and symbolical themes are quite fun to dig into. I'm very curious to see how this translate on the stage, as it gives a very unusual atmosphere.
The illustrations by Aubrey Beardsley are intriguing (to say the least) and contribute to the confusing vibe. It is worth taking some time to really research about, and I believe you need to be on a very special mood to be able to grasp a bit of its deeper meaning.
Not my favorite of Wilde's work but the biblical and symbolical themes are quite fun to dig into. I'm very curious to see how this translate on the stage, as it gives a very unusual atmosphere.
The illustrations by Aubrey Beardsley are intriguing (to say the least) and contribute to the confusing vibe. It is worth taking some time to really research about, and I believe you need to be on a very special mood to be able to grasp a bit of its deeper meaning.
December 6, 2022
芦爻丕賱賵賲賴禄 蹖讴 丕孬乇 鬲丕乇蹖禺蹖鈥屫ж池�. 賵丕蹖賱丿 亘丕 丕賯鬲亘丕爻蹖 賲鬲賮丕賵鬲 丕夭 讴鬲丕亘 賲賯丿爻貙 丕蹖賳 胤乇丨 亘夭乇诏 乇丕 丿乇 丨噩賲 讴賲 丨賵賱 賵爻賵爻賴 賴丕蹖 賴乇賵丿貙 賴蹖乇賵丿蹖丕爻 賵 倬乇賳爻爻 爻丕賱賵賲賴 亘丕 丿蹖丕賱賵诏鈥屬囏й� 賲賵孬乇 賵 倬丕蹖丕賳蹖 噩匕丕亘 卮讴賱 丿丕丿賴 丕爻鬲.
鬲乇丕跇丿蹖 賵丕蹖賱丿 賳賲丕丿蹖賳 賵 鬲賲爻禺乇丌賲蹖夭 丕爻鬲: 爻倬蹖丿蹖 賴賲趩賵 賲乇丿诏丕賳 賲丕賴貙 倬乇賳丿诏丕賳 賵 丌賵丕賴丕蹖 卮亘 丕夭 毓匕丕亘 賴丕蹖 丌蹖賳丿賴 禺亘乇 賲蹖 丿賴賳丿. 卮禺氐蹖鬲鈥屬囏й� 賲鬲毓丿丿蹖 賲丕賳賳丿 爻乇亘丕夭丕賳貙 賳丕氐乇蹖鈥屬囏ж� 乇賵賲蹖鈥屬囏� 賵 賲乇丿賲 毓丕丿蹖貙 乇賵夭诏丕乇 賵 丕賳丿蹖卮賴鈥屬囏й� 丌賳 丿賵乇丕賳 賳夭丕毓 賵 鬲毓氐亘 賲匕賴亘蹖 乇丕 亘賴 鬲氐賵蹖乇 賲蹖鈥屭┴促嗀�. 丿乇 丕蹖賳 趩丕乇趩賵亘貙 賵丕蹖賱丿 丕卮讴丕賱 賲禺鬲賱賮蹖 丕夭 毓卮賯 乇丕 賳蹖夭 賯乇丕乇 賲蹖鈥屫囏� 讴賴 賴蹖趩鈥屭┴з� 賲鬲毓丕乇賮 賳蹖爻鬲賳丿 賵 丕夭 賲賳馗乇 夭賲丕賳貙 賴賲賴 賲匕賲賵賲 賴爻鬲賳丿: 禺蹖丕賳鬲貙 丕賳鬲賯丕賲貙 賴賲噩賳爻鈥屭必й屰屫� 夭賳丕蹖 亘丕 賲丨丕乇賲 賵 賳讴乇賵賮蹖賱蹖丕(賲乇丿賴 禺賵丕賴蹖).
spoiler alert 馃憗锔忊€嶐煑笍
爻丕賱賵賲賴貙 丌鬲卮蹖賳 賵 賯丿乇鬲賲賳丿貙 夭賳 乇丕賲 賳卮丿賳蹖 賵 禺賵丕爻鬲賳蹖鈥屫ж池� 诏賳噩蹖 賲賲賳賵毓 亘乇丕蹖 賲乇丿賲丕賳 毓丕丿蹖 賵 丕卮乇丕賮 讴賴 丕卮鬲賴丕蹖 賲乇蹖囟蹖 丕賵 乇丕 诏乇賮鬲丕乇 讴乇丿賴貙 丿乇 賳賴丕蹖鬲 亘丕 賱賲爻 鬲賱禺蹖 賴丕 亘賴 亘賵爻賴鈥屰� 丌乇夭賵賲賳丿 丿爻鬲 賲蹖 蹖丕亘丿.
芦賱亘賴丕蹖 爻乇丿 爻賻乇賽 亘乇蹖丿賴 倬蹖丕賲亘乇 乇丕 亘丕 賱亘賴丕蹖 诏乇賲 禺賵丿卮 賱賲爻 賲蹖讴賳丿 賵 丿乇 倬丕蹖丕賳 賳丿丕 賲蹖鈥屫囏�: 毓卮賯 賯賵蹖鬲乇 丕夭 賲乇诏 丕爻鬲.禄
鬲乇丕跇丿蹖 賵丕蹖賱丿 賳賲丕丿蹖賳 賵 鬲賲爻禺乇丌賲蹖夭 丕爻鬲: 爻倬蹖丿蹖 賴賲趩賵 賲乇丿诏丕賳 賲丕賴貙 倬乇賳丿诏丕賳 賵 丌賵丕賴丕蹖 卮亘 丕夭 毓匕丕亘 賴丕蹖 丌蹖賳丿賴 禺亘乇 賲蹖 丿賴賳丿. 卮禺氐蹖鬲鈥屬囏й� 賲鬲毓丿丿蹖 賲丕賳賳丿 爻乇亘丕夭丕賳貙 賳丕氐乇蹖鈥屬囏ж� 乇賵賲蹖鈥屬囏� 賵 賲乇丿賲 毓丕丿蹖貙 乇賵夭诏丕乇 賵 丕賳丿蹖卮賴鈥屬囏й� 丌賳 丿賵乇丕賳 賳夭丕毓 賵 鬲毓氐亘 賲匕賴亘蹖 乇丕 亘賴 鬲氐賵蹖乇 賲蹖鈥屭┴促嗀�. 丿乇 丕蹖賳 趩丕乇趩賵亘貙 賵丕蹖賱丿 丕卮讴丕賱 賲禺鬲賱賮蹖 丕夭 毓卮賯 乇丕 賳蹖夭 賯乇丕乇 賲蹖鈥屫囏� 讴賴 賴蹖趩鈥屭┴з� 賲鬲毓丕乇賮 賳蹖爻鬲賳丿 賵 丕夭 賲賳馗乇 夭賲丕賳貙 賴賲賴 賲匕賲賵賲 賴爻鬲賳丿: 禺蹖丕賳鬲貙 丕賳鬲賯丕賲貙 賴賲噩賳爻鈥屭必й屰屫� 夭賳丕蹖 亘丕 賲丨丕乇賲 賵 賳讴乇賵賮蹖賱蹖丕(賲乇丿賴 禺賵丕賴蹖).
spoiler alert 馃憗锔忊€嶐煑笍
爻丕賱賵賲賴貙 丌鬲卮蹖賳 賵 賯丿乇鬲賲賳丿貙 夭賳 乇丕賲 賳卮丿賳蹖 賵 禺賵丕爻鬲賳蹖鈥屫ж池� 诏賳噩蹖 賲賲賳賵毓 亘乇丕蹖 賲乇丿賲丕賳 毓丕丿蹖 賵 丕卮乇丕賮 讴賴 丕卮鬲賴丕蹖 賲乇蹖囟蹖 丕賵 乇丕 诏乇賮鬲丕乇 讴乇丿賴貙 丿乇 賳賴丕蹖鬲 亘丕 賱賲爻 鬲賱禺蹖 賴丕 亘賴 亘賵爻賴鈥屰� 丌乇夭賵賲賳丿 丿爻鬲 賲蹖 蹖丕亘丿.
芦賱亘賴丕蹖 爻乇丿 爻賻乇賽 亘乇蹖丿賴 倬蹖丕賲亘乇 乇丕 亘丕 賱亘賴丕蹖 诏乇賲 禺賵丿卮 賱賲爻 賲蹖讴賳丿 賵 丿乇 倬丕蹖丕賳 賳丿丕 賲蹖鈥屫囏�: 毓卮賯 賯賵蹖鬲乇 丕夭 賲乇诏 丕爻鬲.禄
October 16, 2017
After finishing "厂补濒辞尘茅", I laughed out loud. That doesn't seem unusual. Oscar Wilde is renown for his witty dialogue and snarky social commentary, so why not laugh? Well, I didn't laugh because of the play's humor, I laughed because I was weirded out. There was one thought that dominated my thinking, and that thought was: What the fuck did I just read?
I was taken aback by this play, I was surprised to learn that Oscar didn't solely write Society Plays. I was accostumed to his depiction of an upper class setting, dinner parties where all the attendants lowkey hate one another, and the dandy with his contradicting statements. I got none of that in "厂补濒辞尘茅".
"厂补濒辞尘茅" is Oscar's adaptation of the Biblical story of Herod and Herodias. I knew that Oscar was a religious man, and that he studied ancient texts at his time at Oxford; I didn't know that he was adapting them as well.
According to the New Testament, Salome was the daugher of Herodias. She is infamous for demanding and receiving the head of John the Baptist from Herod, the husband of her mother. She is often identified with the unnamed dancing woman 鈥� Christian traditions depict her as an icon of dangerous female seductiveness because of the erotic nature of her dance. Oscar went for a similar motif in his play, depicting 厂补濒辞尘茅 as a femme fatale.
Since I am not well-read in the source material, I won't judge how well Oscar adapted her story. From what I understood, he altered certain things, e.g. that in the source material, after her dance, Salome asked her mother what she should demand of Herod, and that in Oscar's play 厂补濒辞尘茅 is much more independant and manipulative, and wants Jonakaan's head for selfish reasons. However, Oscar remained quite true to the original story overall.
Upon my first reading of the play, I didn't see much in it. No greater meaning or any significance, for that matter. Herod gave me the actual creeps, the way he was lusting after 厂补濒辞尘茅, demanding her to dance for him, was extremely uncomfortable to read. 厂补濒辞尘茅 wasn't better though. Her weird obsession with Jonakaan's body came out of the blue, and seemed extremely predatory. I was disgusted by her ending monologue and that she caressed and kissed Jonakaan's detached head.
In general, the play felt very anticlimatic. The execution of Jonakaan takes place behind closed doors and the audience is not let in on the action. 厂补濒辞尘茅's dance isn't described at all, and the reader has to imagine it himself. The play and its dialogue seemed very repetitive and lacked wit.
My opinion of "厂补濒辞尘茅" changed for the better, after I did some research on it. Critics discuss this play with very interesting themes in mind 鈥� society's obessession with virginity, the male gaze and sexual power. I was really happy to learn about these discussions, because then I was able to see the textual proof myself. Herod is lusting after 厂补濒辞尘茅's body, and therefore throughout the entire play she is depicted through the eyes of a predatory male, her body is the focus of attention and overly sexualized. However, "female gaze" is also prevalent in the story, in 厂补濒辞尘茅's unhealthy obsession with the whiteness of Jonakaan's body and the ripeness of his mouth. Moreover, 厂补濒辞尘茅 has power over Herod, he has to comply to her wishes, simply because of her appeal, of how highly sexual she is. She is all of that, despite the fact that she is still a virgin.
What I found really interesting is that some scholars discuss the homosexual subtext of the play. I didn't pick up on that at all, but I find it worth mentioning. In the play, 厂补濒辞尘茅 promises the Young Syrian (who is madly in love with her) a flower, a typical signal of homosexuality in Oscar's time. These scholars argue that 厂补濒辞尘茅's sexuality is presented as typically masculine (after all, she is often described as being in a position of power, and she has a very predatory nature), which makes the relationship between her and the Young Sytian borderline homoerotic.
This fascinating, different view of the play gets even more interesting when we take into consideration that Oscar dedicated this play to his lover, Bosie, and furthermore, that Bosie attempted to translate this play (Oscar had originally written it in the French language). Oscar and Bosie acutally quarreled over the translation because Oscar wasn't satisfied with it, and Bosie blamed it on Oscar's poor mastery of the French language, claiming that the faults lay in the original version of the play. Oscar then translated the play himself, but gave Bosie credit for it, to not further upset him.
Additionally to that I was really eager to learn why Oscar decided to write in the French language. Apparently, he regarded writing in a foreign language as a self-experiment:
I find that very fascinating, and so I do not regard this play as a waste of my time. Sure, my time reading it wasn't the most enjoyable, but I loved discovering its important themes and the insight into the mind of Oscar Wilde that the subsequent research gave me.
So, in conclusion, I wouldn't necessarily recommend this to people who haven't read anything by Oscar before. It is quite the unusal play for him, and his society plays are much more accessible and funny. However, if you're really interested in the man himself and his work, "厂补濒辞尘茅" is a vital read from which you can learn quite a bit.
I was taken aback by this play, I was surprised to learn that Oscar didn't solely write Society Plays. I was accostumed to his depiction of an upper class setting, dinner parties where all the attendants lowkey hate one another, and the dandy with his contradicting statements. I got none of that in "厂补濒辞尘茅".
"厂补濒辞尘茅" is Oscar's adaptation of the Biblical story of Herod and Herodias. I knew that Oscar was a religious man, and that he studied ancient texts at his time at Oxford; I didn't know that he was adapting them as well.
According to the New Testament, Salome was the daugher of Herodias. She is infamous for demanding and receiving the head of John the Baptist from Herod, the husband of her mother. She is often identified with the unnamed dancing woman 鈥� Christian traditions depict her as an icon of dangerous female seductiveness because of the erotic nature of her dance. Oscar went for a similar motif in his play, depicting 厂补濒辞尘茅 as a femme fatale.
Since I am not well-read in the source material, I won't judge how well Oscar adapted her story. From what I understood, he altered certain things, e.g. that in the source material, after her dance, Salome asked her mother what she should demand of Herod, and that in Oscar's play 厂补濒辞尘茅 is much more independant and manipulative, and wants Jonakaan's head for selfish reasons. However, Oscar remained quite true to the original story overall.
Upon my first reading of the play, I didn't see much in it. No greater meaning or any significance, for that matter. Herod gave me the actual creeps, the way he was lusting after 厂补濒辞尘茅, demanding her to dance for him, was extremely uncomfortable to read. 厂补濒辞尘茅 wasn't better though. Her weird obsession with Jonakaan's body came out of the blue, and seemed extremely predatory. I was disgusted by her ending monologue and that she caressed and kissed Jonakaan's detached head.
In general, the play felt very anticlimatic. The execution of Jonakaan takes place behind closed doors and the audience is not let in on the action. 厂补濒辞尘茅's dance isn't described at all, and the reader has to imagine it himself. The play and its dialogue seemed very repetitive and lacked wit.
My opinion of "厂补濒辞尘茅" changed for the better, after I did some research on it. Critics discuss this play with very interesting themes in mind 鈥� society's obessession with virginity, the male gaze and sexual power. I was really happy to learn about these discussions, because then I was able to see the textual proof myself. Herod is lusting after 厂补濒辞尘茅's body, and therefore throughout the entire play she is depicted through the eyes of a predatory male, her body is the focus of attention and overly sexualized. However, "female gaze" is also prevalent in the story, in 厂补濒辞尘茅's unhealthy obsession with the whiteness of Jonakaan's body and the ripeness of his mouth. Moreover, 厂补濒辞尘茅 has power over Herod, he has to comply to her wishes, simply because of her appeal, of how highly sexual she is. She is all of that, despite the fact that she is still a virgin.
What I found really interesting is that some scholars discuss the homosexual subtext of the play. I didn't pick up on that at all, but I find it worth mentioning. In the play, 厂补濒辞尘茅 promises the Young Syrian (who is madly in love with her) a flower, a typical signal of homosexuality in Oscar's time. These scholars argue that 厂补濒辞尘茅's sexuality is presented as typically masculine (after all, she is often described as being in a position of power, and she has a very predatory nature), which makes the relationship between her and the Young Sytian borderline homoerotic.
This fascinating, different view of the play gets even more interesting when we take into consideration that Oscar dedicated this play to his lover, Bosie, and furthermore, that Bosie attempted to translate this play (Oscar had originally written it in the French language). Oscar and Bosie acutally quarreled over the translation because Oscar wasn't satisfied with it, and Bosie blamed it on Oscar's poor mastery of the French language, claiming that the faults lay in the original version of the play. Oscar then translated the play himself, but gave Bosie credit for it, to not further upset him.
Additionally to that I was really eager to learn why Oscar decided to write in the French language. Apparently, he regarded writing in a foreign language as a self-experiment:
"I have one instrument that I know I can command, and that is the English language. There was another instrument to which I had listened all my life, and I wanted once to touch this new instrument to see whether I could make any beautiful thing out of it."
I find that very fascinating, and so I do not regard this play as a waste of my time. Sure, my time reading it wasn't the most enjoyable, but I loved discovering its important themes and the insight into the mind of Oscar Wilde that the subsequent research gave me.
So, in conclusion, I wouldn't necessarily recommend this to people who haven't read anything by Oscar before. It is quite the unusal play for him, and his society plays are much more accessible and funny. However, if you're really interested in the man himself and his work, "厂补濒辞尘茅" is a vital read from which you can learn quite a bit.
May 2, 2020
This play is very different from the other plays by Wilde that I've read. It's a tragedy based on a biblical story, and the writing is accordingly serious. There was no trace of what I came to associate with Wilde's writing - short and profound phrases that make you stop and question the truth of their meaning.
In 厂补濒辞尘茅 the dialogue is very repetitive, the characters often set off ranting and raving almost madly, or speak in almost purple prose.
I've seen this play performed in a theater last year and enjoyed it immensely. This influenced my perception when reading it in print. Have I not seen it, I would probably have had a hard time appreciating it.
In 厂补濒辞尘茅 the dialogue is very repetitive, the characters often set off ranting and raving almost madly, or speak in almost purple prose.
I've seen this play performed in a theater last year and enjoyed it immensely. This influenced my perception when reading it in print. Have I not seen it, I would probably have had a hard time appreciating it.
April 1, 2024
鈥漈he piece is written in French 鈥� half biblical, half pornographic 鈥� by Oscar Wilde himself. Imagine the average British public鈥檚 reception of it.鈥�
Official in Lord Chamberlain鈥檚 office censoring the play in 1892
I was chaste and thou did fill my veins with fire! Oh, wherefore did thou not look at me? If thou had looked at me, thou had loved me! Well I know that thou would have loved me, and the mystery of love is greater than the mystery of death.
Salome
Salome is an eldritch and ethereal one act play where innocence, decadence, longing and death dance together. Wilde took the biblical story of Salome, Herod, and John the Baptist and added his own twist of seduction rebuffed as Salome鈥檚 motivation. That change transforms the story and is at the heart of the play.
Aubrey Beardsley was hired to do the illustrations when the play was first published, which add to the haunted nature of the work. An Oscar Wilde play illustrated by Beardsley makes Salome one of the most significant works of the Aesthetic Movement. To best appreciate it, read it first in a volume that includes the Beardsley illustrations, then listen to LA Theater Works outstanding production of the play.
* * * * * * * * * *
Look at the moon. How strange the moon seems! She is like a woman rising from a tomb. She is like a dead woman. One might fancy she was looking for dead things.
The Page of Herodias
How good to see the moon! She is like a little piece of money, a little silver flower. She is cold and chaste. I am sure she is a virgin. She has the beauty of a virgin. Yes, she is a virgin. She has never defiled herself. She has never abandoned herself to men like the other goddesses.
Salome
Oh! How strange the moon looks! Like the hand of a dead woman who is seeking to cover herself with a shroud.
The Page of Herodias
The moon has a strange look tonight. Has she not a strange look? She is like a mad woman, a mad woman who is seeking everywhere for lovers. She is naked too. She is quite naked. The clouds are seeking to clothe her nakedness, but she will not let them. She shows herself naked in the sky. She reels through the clouds like a drunken woman鈥 am sure she is looking for lovers. Does she not feel like a drunken woman? She is like a mad woman, is she not?
Herod
Put out the torches! Hide the moon! Hide the stars! Let us hide ourselves in our palace 鈥� I begin to be afraid!
Herod
Official in Lord Chamberlain鈥檚 office censoring the play in 1892
I was chaste and thou did fill my veins with fire! Oh, wherefore did thou not look at me? If thou had looked at me, thou had loved me! Well I know that thou would have loved me, and the mystery of love is greater than the mystery of death.
Salome
Salome is an eldritch and ethereal one act play where innocence, decadence, longing and death dance together. Wilde took the biblical story of Salome, Herod, and John the Baptist and added his own twist of seduction rebuffed as Salome鈥檚 motivation. That change transforms the story and is at the heart of the play.
Aubrey Beardsley was hired to do the illustrations when the play was first published, which add to the haunted nature of the work. An Oscar Wilde play illustrated by Beardsley makes Salome one of the most significant works of the Aesthetic Movement. To best appreciate it, read it first in a volume that includes the Beardsley illustrations, then listen to LA Theater Works outstanding production of the play.
* * * * * * * * * *
Look at the moon. How strange the moon seems! She is like a woman rising from a tomb. She is like a dead woman. One might fancy she was looking for dead things.
The Page of Herodias
How good to see the moon! She is like a little piece of money, a little silver flower. She is cold and chaste. I am sure she is a virgin. She has the beauty of a virgin. Yes, she is a virgin. She has never defiled herself. She has never abandoned herself to men like the other goddesses.
Salome
Oh! How strange the moon looks! Like the hand of a dead woman who is seeking to cover herself with a shroud.
The Page of Herodias
The moon has a strange look tonight. Has she not a strange look? She is like a mad woman, a mad woman who is seeking everywhere for lovers. She is naked too. She is quite naked. The clouds are seeking to clothe her nakedness, but she will not let them. She shows herself naked in the sky. She reels through the clouds like a drunken woman鈥 am sure she is looking for lovers. Does she not feel like a drunken woman? She is like a mad woman, is she not?
Herod
Put out the torches! Hide the moon! Hide the stars! Let us hide ourselves in our palace 鈥� I begin to be afraid!
Herod
June 6, 2023
This awesome one-act play was originally written in French (while Oscar Wilde was in exile in Paris) to avoid Victorian censorship.
*spoiler alert*
Salome is a tale of complex passion. Oscar Wilde's Salome is not an instrument of Herodias. She's a sensual, sensitive lover who turns into a vengeful executioner. Her mother, Herodias and the present King had imprisoned her father, the former King and put him to death, making her a "Hamlet". She falls in love with John the Baptist not because he is a lovable man, but just because she is fascinated by him.
Other than the plot, there's a secondary story. I thought John the Baptist may be a metaphor for Oscar Wilde himself. A seer who is rejected but a society that dares not to destroy him completely. It was even more interesting to find out that this was translated by Lord Alfred Douglas.
*spoiler alert*
Salome is a tale of complex passion. Oscar Wilde's Salome is not an instrument of Herodias. She's a sensual, sensitive lover who turns into a vengeful executioner. Her mother, Herodias and the present King had imprisoned her father, the former King and put him to death, making her a "Hamlet". She falls in love with John the Baptist not because he is a lovable man, but just because she is fascinated by him.
Other than the plot, there's a secondary story. I thought John the Baptist may be a metaphor for Oscar Wilde himself. A seer who is rejected but a society that dares not to destroy him completely. It was even more interesting to find out that this was translated by Lord Alfred Douglas.
July 7, 2016
脡 bem conhecida a hist贸ria de 厂补濒辞尘茅 que, durante um banquete e a pedido do padrasto Herodes, dan莽a a dan莽a dos sete v茅us, sendo-lhe oferecida como recompensa a cabe莽a de Jo茫o Batista. Segundo o Evangelho de S茫o Marcos, o pr茅mio exigido por 厂补濒辞尘茅 tem como fundamento o 贸dio da sua m茫e, Herod铆ade, pelo profeta; na pe莽a de Oscar Wilde, assim como no libreto da 贸pera de Richard Strauss, o pedido de 厂补濒辞尘茅 茅 motivado pela paix茫o.
Apesar de nada no enredo da pe莽a ser novidade 茅 uma leitura hipnotizante, pela escrita po茅tica de Wilde que nos enleia no desejo obsessivo de Herodes por 厂补濒辞尘茅 e de 厂补濒辞尘茅 por Iocana茫 (nome judeu de Jo茫o Batista).
Deixo uma colagem de alguns di谩logos como exemplo desta maravilha:
_____________________________
厂础尝翱惭脡
Fala mais. Iocana茫. A tua voz embriaga-me.
N茫o h谩 nada no mundo t茫o branco como o teu corpo. Deixa-me tocar no teu corpo!
滨翱颁础狈础脙
Para tr谩s, filha de Babil贸nia! Foi pela mulher que o mal entrou no mundo. N茫o me fales. N茫o te quero ouvir.
厂础尝翱惭脡
N茫o h谩 nada no mundo t茫o negro como os teus cabelos... Deixa-me tocar nos teus cabelos!
滨翱颁础狈础脙
Para tr谩s, filha de Sodoma! N茫o me toques.
厂础尝翱惭脡
N茫o h谩 nada no mundo t茫o vermelho como a tua boca... Deixa-me beijar-te a boca.
滨翱颁础狈础脙
Nunca, filha de Babil贸nia! Filha de Sodoma, nunca!
厂础尝翱惭脡
Hei-de beijar-te a boca, Iocana茫. Hei-de beijar-te a boca.
_____________________________
HERODES
厂补濒辞尘茅, 厂补濒辞尘茅, dan莽a para mim.
Dan莽a para mim, 厂补濒辞尘茅, e dar-te-ei tudo o que me pedires, nem que seja metade do meu reino.
厂础尝翱惭脡
Dar-me-谩s tudo o que te pedir, tetrarca?
Jura-lo?
HERODES
Pela minha vida, pela minha coroa, pelos meus deuses. Tudo o que quiseres to darei, nem que seja metade do meu reino, se dan莽ares para mim. 脫 厂补濒辞尘茅, 厂补濒辞尘茅, dan莽a para mim.
厂础尝翱惭脡
Dan莽arei para ti, tetrarca.
_____________________________
HERODES
Ah, 茅 magn铆fico, 茅 magn铆fico! Dar-te-ei tudo o que quiseres. Que queres? Diz.
厂础尝翱惭脡
Quero que me tragam j谩 numa bacia de prata...
A cabe莽a de Iocana茫.
HERODES
N茫o. N茫o. N茫o quero.
厂础尝翱惭脡
D谩-me a cabe莽a de Iocana茫.
_____________________________
A VOZ DE 厂础尝翱惭脡
Ah! Beijei-te a boca, Iocana茫, beijei-te a boca. Havia um sabor acre nos teus l谩bios. Seria o sabor do sangue?... Mas talvez seja o sabor do amor. Diz-se que o amor tem um sabor acre... Mas que importa? Que importa? Beijei-te a boca, Iocana茫, beijei-te a boca.
_____________________________
(Gravura de Aubrey Beardsley)
Apesar de nada no enredo da pe莽a ser novidade 茅 uma leitura hipnotizante, pela escrita po茅tica de Wilde que nos enleia no desejo obsessivo de Herodes por 厂补濒辞尘茅 e de 厂补濒辞尘茅 por Iocana茫 (nome judeu de Jo茫o Batista).
Deixo uma colagem de alguns di谩logos como exemplo desta maravilha:
_____________________________
厂础尝翱惭脡
Fala mais. Iocana茫. A tua voz embriaga-me.
N茫o h谩 nada no mundo t茫o branco como o teu corpo. Deixa-me tocar no teu corpo!
滨翱颁础狈础脙
Para tr谩s, filha de Babil贸nia! Foi pela mulher que o mal entrou no mundo. N茫o me fales. N茫o te quero ouvir.
厂础尝翱惭脡
N茫o h谩 nada no mundo t茫o negro como os teus cabelos... Deixa-me tocar nos teus cabelos!
滨翱颁础狈础脙
Para tr谩s, filha de Sodoma! N茫o me toques.
厂础尝翱惭脡
N茫o h谩 nada no mundo t茫o vermelho como a tua boca... Deixa-me beijar-te a boca.
滨翱颁础狈础脙
Nunca, filha de Babil贸nia! Filha de Sodoma, nunca!
厂础尝翱惭脡
Hei-de beijar-te a boca, Iocana茫. Hei-de beijar-te a boca.
_____________________________
HERODES
厂补濒辞尘茅, 厂补濒辞尘茅, dan莽a para mim.
Dan莽a para mim, 厂补濒辞尘茅, e dar-te-ei tudo o que me pedires, nem que seja metade do meu reino.
厂础尝翱惭脡
Dar-me-谩s tudo o que te pedir, tetrarca?
Jura-lo?
HERODES
Pela minha vida, pela minha coroa, pelos meus deuses. Tudo o que quiseres to darei, nem que seja metade do meu reino, se dan莽ares para mim. 脫 厂补濒辞尘茅, 厂补濒辞尘茅, dan莽a para mim.
厂础尝翱惭脡
Dan莽arei para ti, tetrarca.
_____________________________
HERODES
Ah, 茅 magn铆fico, 茅 magn铆fico! Dar-te-ei tudo o que quiseres. Que queres? Diz.
厂础尝翱惭脡
Quero que me tragam j谩 numa bacia de prata...
A cabe莽a de Iocana茫.
HERODES
N茫o. N茫o. N茫o quero.
厂础尝翱惭脡
D谩-me a cabe莽a de Iocana茫.
_____________________________
A VOZ DE 厂础尝翱惭脡
Ah! Beijei-te a boca, Iocana茫, beijei-te a boca. Havia um sabor acre nos teus l谩bios. Seria o sabor do sangue?... Mas talvez seja o sabor do amor. Diz-se que o amor tem um sabor acre... Mas que importa? Que importa? Beijei-te a boca, Iocana茫, beijei-te a boca.
_____________________________
(Gravura de Aubrey Beardsley)
May 22, 2022
螘尉伪喂蟻蔚蟿喂魏蠈 蟿慰 苇蟻纬慰, 蟽蟿慰 蟺蟻蠅蟿蠈蟿蠀蟺慰.
螚 渭蔚蟿伪纬蟻伪蠁萎 伪蟺苇蠂蔚喂 蟺维蟻伪 蟺慰位蠉 伪蟺蠈 蟿慰 魏蔚委渭蔚谓慰. 螝维蟿喂 蟺慰蠀 蟽蠀谓畏胃委味蔚喂 慰 蔚魏未慰蟿喂魏蠈蟼 慰委魏慰蟼. 螛伪 蟺蟻慰蟿喂渭慰蠉蟽伪 蟺喂慰 蟺喂蟽蟿苇蟼 萎 蟿慰蠀位维蠂喂蟽蟿慰谓 蟻蔚伪位喂蟽蟿喂魏苇蟼 渭蔚蟿伪蠁蟻维蟽蔚喂蟼.
螚 渭蔚蟿伪纬蟻伪蠁萎 伪蟺苇蠂蔚喂 蟺维蟻伪 蟺慰位蠉 伪蟺蠈 蟿慰 魏蔚委渭蔚谓慰. 螝维蟿喂 蟺慰蠀 蟽蠀谓畏胃委味蔚喂 慰 蔚魏未慰蟿喂魏蠈蟼 慰委魏慰蟼. 螛伪 蟺蟻慰蟿喂渭慰蠉蟽伪 蟺喂慰 蟺喂蟽蟿苇蟼 萎 蟿慰蠀位维蠂喂蟽蟿慰谓 蟻蔚伪位喂蟽蟿喂魏苇蟼 渭蔚蟿伪蠁蟻维蟽蔚喂蟼.
April 14, 2020
This one was kind of odd. Very short, it鈥檚 hard to imagine it being performed as an actual play. It must have been an incredibly short play. The story was a bit strange but apparently it is adapted from, or at least inspired by, a particular biblical story that I鈥檓 not familiar with so I guess that鈥檚 why. It was definitely interesting though.
January 23, 2021
Oscar Wilde's vibrant descriptions, monologues, and symbolisms + Aubrey Beardsley's fascinating illustrations = perfection. I like how this was banned back then because of its sexual perversity lmao Wilde was ahead of his time.
Read
November 29, 2021A op莽茫o de Strauss de traduzir ipsis verbis o texto de Wilde, 厂补濒辞尘茅, para encenar a magn铆fica 贸pera com mesmo nome foi o motivo primeiro que me levou a pegar neste livro.
A imagem da princesa da Judeia 茅 todo um mundo de estudo em hist贸ria da arte a que j谩 estava habituada, mas as cenas da 贸pera encenada por Weigl perseguem-me desde que primeiro a vi. E o poder das palavras que profere 厂补濒辞尘茅 茅 de tal ordem que tinha mesmo de olhar o texto.
Nada ainda est谩 por dizer sobre a escolha de Wilde (e posteriormente Strauss): a sua vers茫o da hist贸ria 茅 blasfema - importe isso para leigos n茫o -; a corte do rei Herodes 茅 a ep铆tome da consuma莽茫o dos valores religiosos; o rei 茅 um pai incestuoso; a rainha uma prostituta e a filha uma assassina necr贸fila que comete a heresia de profanar o corpo de um profeta (e diga-se tamb茅m que o pr贸prio S茫o Jo茫o Batista n茫o sai muito bem no retrato)...
Mas h谩 qualquer coisa em 厂补濒辞尘茅 de profundamente atraente, magn茅tico que nos obriga a fechar os olhos 脿 baixeza deste mundo em que habita. Sensual, poderosa, 厂补濒辞尘茅 partilha da p茅ssima fama de outras mulheres fortes apresentadas em narrativas b铆blicas - na sua decad锚ncia, como na escrita de Wilde, reside o seu poder.
Prefiro a maturidade da tentativa de Flaubert sobre este tema, em Herod铆ade, mas sem Wilde n茫o existiria para mim imagem de 厂补濒辞尘茅.
A imagem da princesa da Judeia 茅 todo um mundo de estudo em hist贸ria da arte a que j谩 estava habituada, mas as cenas da 贸pera encenada por Weigl perseguem-me desde que primeiro a vi. E o poder das palavras que profere 厂补濒辞尘茅 茅 de tal ordem que tinha mesmo de olhar o texto.
Nada ainda est谩 por dizer sobre a escolha de Wilde (e posteriormente Strauss): a sua vers茫o da hist贸ria 茅 blasfema - importe isso para leigos n茫o -; a corte do rei Herodes 茅 a ep铆tome da consuma莽茫o dos valores religiosos; o rei 茅 um pai incestuoso; a rainha uma prostituta e a filha uma assassina necr贸fila que comete a heresia de profanar o corpo de um profeta (e diga-se tamb茅m que o pr贸prio S茫o Jo茫o Batista n茫o sai muito bem no retrato)...
Mas h谩 qualquer coisa em 厂补濒辞尘茅 de profundamente atraente, magn茅tico que nos obriga a fechar os olhos 脿 baixeza deste mundo em que habita. Sensual, poderosa, 厂补濒辞尘茅 partilha da p茅ssima fama de outras mulheres fortes apresentadas em narrativas b铆blicas - na sua decad锚ncia, como na escrita de Wilde, reside o seu poder.
Prefiro a maturidade da tentativa de Flaubert sobre este tema, em Herod铆ade, mas sem Wilde n茫o existiria para mim imagem de 厂补濒辞尘茅.
April 14, 2020
Li este livro h谩 exactamente um ano. Voltei a ele porque n茫o me sa铆a da cabe莽a, sobretudo depois de ter visto duas vers玫es distintas da 贸pera hom贸nima de Richard Strauss. Sobretudo a primeira delas, no festival de Salzburgo de 2018, com Asmik Grigorian no papel principal, cuja encena莽茫o de Romeo Castellucci me deixou boquiaberto: 厂补濒辞尘茅 茅 a铆 uma adolescente rec茅m-menstruada; Herodes um Mussolini com metade do rosto pintado de vermelho; Iokanaan parece mais um apache do que judeu; Herod铆ade 茅 ainda mais perversa; n茫o h谩 a cabe莽a de Iokanaan numa salva de prata, mas h谩 a cabe莽a de um cavalo negro, n茫o h谩 a dan莽a dos sete v茅us, etc. Para quem j谩 leu esta pe莽a genial de Oscar Wilde e se deparou com os in煤meros s铆mbolos que ela guarda, ver a dita encena莽茫o deixa-nos a pensar como 茅 poss铆vel encontrar ainda mais s铆mbolos e acrescentar tantos n铆veis de leitura. Talvez por isso, reli tirando profusas notas. N茫o me demorarei em todas elas, mas h谩 duas coisas que se me tornaram mais evidentes agora: a lua 茅 outra das protagonistas, j谩 o sab铆amos, mas 茅-o no sentido em que as sociedades pr茅-hist贸ricas a viam. Sujeito ou deus que influencia e a quem importa aplacar com d谩divas: tanto melhor se forem de sangue. E depois h谩 o pr贸prio sangue, tamb茅m ele s铆mbolo e press谩gio de que tudo pode correr mal. 厂补濒辞尘茅 desce todas as escadas do po莽o da loucura em nome do Amor, do desejo carnal, e prova o sangue, amargo, porque tamb茅m para ela a ideia de amor 茅 amarga. Ler este texto e ver aquela encena莽茫o (ou outras, h谩 tantas e t茫o boas), 茅 uma das melhores e mais exigentes experi锚ncias intelectuais que j谩 tive.
"No meu pa铆s, agora, n茫o h谩 deuses. Os Romanos expulsaram-nos. H谩 quem diga que se refugiaram nas montanhas, mas eu n茫o acredito. Passei tr锚s noites nas montanhas a procur谩-los por todos os lados. N茫o os encontrei. Por fim chamei-os pelos nomes e n茫o apareceram. Suponho que morreram." p. 17
"No meu pa铆s, agora, n茫o h谩 deuses. Os Romanos expulsaram-nos. H谩 quem diga que se refugiaram nas montanhas, mas eu n茫o acredito. Passei tr锚s noites nas montanhas a procur谩-los por todos os lados. N茫o os encontrei. Por fim chamei-os pelos nomes e n茫o apareceram. Suponho que morreram." p. 17
November 21, 2018
Ah, I'm revisiting this Oscar Wilde's awesome works about death, madness, twisted passion, blood and...last but not least, beauty.
Alice Poon's review for this masterpiece: /review/show...
Alice Poon's review for this masterpiece: /review/show...
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