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 *******ish. 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.
It is not usually known in England that a young French naval officer, unaware that Dr. Strauss was composing an opera on the theme of Salome, wrote another music drama to accompany Wilde's text. The exclusive musical rights having been already secured by Dr. Strauss, Lieutenant Marriotte's work cannot be performed regularly. One presentation, however, was permitted at Lyons, the composer's native town, where I am told it made an extraordinary impression. In order to give English readers some faint idea of the world-wide effect of Wilde's drama, my friend Mr. Walter Ledger has prepared a short bibliography of certain English and Continental translations.
At the time of Wilde's trial the nearly completed MS. of La Sainte Courtisane was entrusted to Mrs. Leverson, the well-known novelist, who in 1897 went to Paris on purpose to restore it to the author.