![]() ![]() 67) Christopher Nassaar pointed out that Wilde employs a number of the images favoured by Israel's kingly poets and that the moon is meant to suggest the pagan goddess Cybele, who, like Salomé, was obsessed with preserving her virginity and thus took pleasure in destroying male sexuality. ![]() While his debts are undeniable, there are some novel elements in his version, such as his persistent use of parallels between Salomé and the moon. ![]() Īlthough the "kissing of the head" element was used in Heine and Joseph Converse Heywood's, treatments, Wilde's ingenuity was to move it to the play's climax. Some critics, including Christel Stalpaert, Bram Van Oostveldt and Jaak Van Schoor, view Wilde's Salomé as a composite of earlier treatments of the theme overlaid, in terms of dramatic influences, with the Belgian playwright Maurice Maeterlinck's characteristic methodical diction, and specifically Maeterlinck's La Princesse Maleine, 'with its use of colour, sound, dance, visual description and visual effect'. ![]() Wilde's interest in Salomé's image had been stimulated by descriptions of Gustave Moreau's paintings in Joris-Karl Huysmans's À rebours. ![]()
0 Comments
Leave a Reply. |