Page 2 of 18 PREFACE BY ROBERT ROSS - La Sainte Courtisane

Wilde was still in prison in 1896 when Salome was produced by Lugne Poe at the Theatre de L'OEuvre in Paris, but except for an account in the Daily Telegraph the incident was hardly mentioned in England. I gather that the performance was only a qualified success, though Lugne Poe's triumph as Herod was generally acknowledged. In 1901, within a year of the author's death, it was produced in Berlin; from that moment it has held the European stage. It has run for a longer consecutive period in Germany than any play by any Englishman, not excepting Shakespeare. Its popularity has extended to all countries where it is not prohibited. It is performed throughout Europe, Asia and America. It is played even in Yiddish. This is remarkable in view of the many dramas by French and German writers who treat of the same theme. To none of them, however, is Wilde indebted. Flaubert, Maeterlinck (some would add Ollendorff) and Scripture, are the obvious sources on which he has freely drawn for what I do not hesitate to call the most powerful and perfect of all his dramas. But on such a point a trustee and executor may be prejudiced because it is the most valuable asset in Wilde's literary estate. Aubrey Beardsley's illustrations are too well known to need more than a passing reference. In the world of art criticism they excited almost as much attention as Wilde's drama has excited in the world of intellect.

During May 1905 the play was produced in England for the first time at a private performance by the New Stage Club. No one present will have forgotten the extraordinary tension of the audience on that occasion, those who disliked the play and its author being hypnotised by the extraordinary power of Mr. Robert Farquharson's Herod, one of the finest pieces of acting ever seen in this country. My friends the dramatic critics (and many of them are personal friends) fell on Salome with all the vigour of their predecessors twelve years before. Unaware of what was taking place in Germany, they spoke of the play as having been 'dragged from obscurity.' The Official Receiver in Bankruptcy and myself were, however, better informed. And much pleasure has been derived from reading those criticisms, all carefully preserved along with the list of receipts which were simultaneously pouring in from the German performances. To do the critics justice they never withdrew any of their printed opinions, which were all trotted out again when the play was produced privately for the second time in England by the Literary Theatre Society in 1906. In the Speaker of July 14th, 1906, however, some of the iterated misrepresentations of fact were corrected. No attempt was made to controvert the opinion of an ignorant critic: his veracity only was impugned. The powers of vaticination possessed by such judges of drama can be fairly tested in the career of Salome on the European stage, apart from the opera. In an introduction to the English translation published by Mr. John Lane it is pointed out that Wilde's confusion of Herod Antipas (Matt. xiv. 1) with Herod the Great (Matt. ii. 1) and Herod Agrippa I. (Acts xii. 23) is intentional, and follows a mediaeval convention. There is no attempt at historical accuracy or archaeological exactness. Those who saw the marvellous decor of Mr. Charles Ricketts at the second English production can form a complete idea of what Wilde intended in that respect; although the stage management was clumsy and amateurish. The great opera of Richard Strauss does not fall within my province; but the fag ends of its popularity on the Continent have been imported here oddly enough through the agency of the Palace Theatre, where Salome was originally to have been performed. Of a young lady's dancing, or of that of her rivals, I am not qualified to speak. I note merely that the critics who objected to the horror of one incident in the drama lost all self-control on seeing that incident repeated in dumb show and accompanied by fescennine corybantics. Except in 'name and borrowed notoriety' the music-hall sensation has no relation whatever to the drama which so profoundly moved the whole of Europe and the greatest living musician. The adjectives of contumely are easily transmuted into epithets of adulation, when a prominent ecclesiastic succumbs, like King Herod, to the fascination of a dancer.

		"The true spirit of conversation consists in building on another man's observation, not overturning it." Edward Bulwer-Lytton

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