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SALOMÉ

A TRAGEDY IN ONE ACT:

TRANSLATED FROM THE FRENCH OF

OSCAR WILDE,

WITH SIXTEEN DRAWINGS BY AUBREY BEARDSLEY

LONDON: JOHN LANE, THE BODLEY HEAD

NEW YORK: JOHN LANE COMPANY, MCMVII

THE PERSONS OF THE PLAY.

HEROD ANTIPAS, TETRARCH OF JUDÆA.
JOKANAAN, THE PROPHET.
THE YOUNG SYRIAN, CAPTAIN of the GUARD.
TIGELLINUS, A YOUNG ROMAN.
A CAPPADOCIAN.
A NUBIAN.
FIRST SOLDIER.
SECOND SOLDIER.
THE PAGE OF HERODIAS. JEWS, NAZARENES, ETC.
A SLAVE.
NAAMAN, THE EXECUTIONER.
HERODIAS, WIFE OF THE TETRARCH.
SALOMÉ, DAUGHTER OF HERODIAS.
THE SLAVES OF SALOMÉ.

THE PERSONS OF THE PLAY.

HEROD ANTIPAS, TETRARCH OF JUDEA.
JOKANAAN, THE PROPHET.
THE YOUNG SYRIAN, CAPTAIN OF THE GUARD.
TIGELLINUS, A YOUNG ROMAN.
A CAPPADOCIAN.
A NUBIAN.
FIRST SOLDIER.
SECOND SOLDIER.
HERODIAS'S PAGE.
JEWS, NAZARENES, ETC.
A SLAVE.
NAAMAN, THE EXECUTIONER.
HERODIAS, WIFE OF THE TETRARCH.
SALOMÉ, DAUGHTER OF HERODIAS.
THE SLAVES OF SALOMÉ.

A NOTE ON "SALOMÉ."

"SALOMÉ" has made the author's name a household word wherever the English language is not spoken. Few English plays have such a peculiar history. Written in French in 1892 it was in full rehearsal by Madame Bernhardt at the Palace Theatre when it was prohibited by the Censor. Oscar Wilde immediately announced his intention of changing his nationality, a characteristic jest, which was only taken seriously, oddly enough, in Ireland. The interference of the Censor has seldom been more popular or more heartily endorsed by English critics. On its publication in book form "Salomé" was greeted by a chorus of ridicule, and it may be noted in passing that at least two of the more violent reviews were from the pens of unsuccessful dramatists, while all those whose French never went beyond Ollendorff were glad to find in that venerable school classic an unsuspected asset in their education—a handy missile with which to pelt "Salomé" and its author. The correctness of the French was, of course, impugned, although the scrip had been passed by a distinguished French writer, to whom I have heard the whole work attributed. The Times, while depreciating the drama, gave its author credit for a tour de force, in being capable of writing a French play for Madame Bernhardt, and this drew from him the following letter:—

"Salomé" has made the author's name widely recognized everywhere that English isn't spoken. Few English plays have such a unique history. Written in French in 1892, it was fully rehearsed by Madame Bernhardt at the Palace Theatre when it was banned by the Censor. Oscar Wilde promptly declared his intention to change his nationality, which was a typical joke that, interestingly, was only taken seriously in Ireland. The Censor's interference was rarely more popular or wholeheartedly supported by English critics. When "Salomé" was published in book form, it was met with a wave of ridicule, and it's worth noting that at least two of the harsher reviews came from unsuccessful playwrights, while those whose French went no further than Ollendorff were pleased to find in that old school classic an unexpected tool for attacking "Salomé" and its author. The accuracy of the French was certainly questioned, even though the script had been approved by a respected French writer, to whom I've heard the entire work attributed. The Times, while criticizing the play, acknowledged the author’s skill in managing to write a French play for Madame Bernhardt, which prompted him to respond with the following letter:—

The Times, Thursday, March 2, 1893, p. 4.

MR. OSCAR WILDE ON "SALOMÉ."

To the Editor of The Times.

Sir, My attention has been drawn to a review of "Salomé" which was published in your columns last week. The opinions of English critics on a French work of mine have, of course, little, if any, interest for me. I write simply to ask you to allow me to correct a misstatement that appears in the review in question.

The fact that the greatest tragic actress of any stage now living saw in my play such beauty that she was anxious to produce it, to take herself the part of the heroine, to lend to the entire poem the glamour of her personality, and to my prose the music of her flute-like voice—this was naturally, and always will be, a source of pride and pleasure to me, and I look forward with delight to seeing Mme. Bernhardt present my play in Paris, that vivid centre of art, where religious dramas are often performed. But my play was in no sense of the words written for this great actress. I have never written a play for any actor or actress, nor shall I ever do so. Such work is for the artisan in literature—not for the artist.

I remain, Sir, your obedient servant,

OSCAR WILDE.

The Times, Thursday, March 2, 1893, p. 4.

MR. OSCAR WILDE ON "SALOMÉ."

To the Editor of The Times.

Sir, I came across a review of "Salomé" that was published in your paper last week. To be honest, the views of English critics on my French work don’t particularly concern me. I’m writing to ask if you could allow me to correct an error in the review.

The fact that the greatest tragic actress alive today sees such beauty in my play that she is eager to produce it, take on the role of the heroine herself, and add the charm of her personality to the entire work, bringing the music of her flute-like voice to my prose—this has always been, and will always be, a source of pride and joy for me. I’m really looking forward to seeing Mme. Bernhardt present my play in Paris, that vibrant art hub where religious dramas are frequently performed. However, my play wasn’t specifically written for this great actress. I’ve never written a play for any actor or actress, and I never will. That kind of work is meant for the craftsman in literature—not for the artist.

I remain, Sir, your respectful servant,

OSCAR WILDE.

When "Salomé" was translated into English by Lord Alfred Douglas, the illustrator, Aubrey Beardsley, shared some of the obloquy heaped on Wilde. It is interesting that he should have found inspiration for his finest work in a play he never admired and by a writer he cordially disliked. The motives are, of course, made to his hand, and never was there a more suitable material for that odd tangent art in which there are no tactile values. The amusing caricatures of Wilde which appear in the Frontispiece, "Enter Herodias" and "The Eyes of Herod," are the only pieces of vraisemblance in these exquisite designs. The colophon is a real masterpiece and a witty criticism of the play as well.

When "Salomé" was translated into English by Lord Alfred Douglas, the illustrator, Aubrey Beardsley, faced some of the criticism directed at Wilde. It’s interesting that he found inspiration for his best work in a play he didn’t admire and by a writer he genuinely disliked. The themes naturally fit his style, and there has never been a more fitting material for that quirky art form that lacks any tactile elements. The funny caricatures of Wilde that show up in the Frontispiece, "Enter Herodias," and "The Eyes of Herod" are the only pieces of realism in these beautiful designs. The colophon is a real masterpiece and also a clever critique of the play.

On the production of "Salomé" by the New Stage Club in May, 1905,[1] the dramatic critics again expressed themselves vehemently, vociferating their regrets that the play had been dragged from its obscurity. The obscure drama, however, had become for five years past part of the literature of Europe. It is performed regularly or intermittently in Holland, Sweden, Italy, France, and Russia, and it has been translated into every European language, including the Czech. It forms part of the repertoire of the German stage, where it is performed more often than any play by any English writer except Shakespeare. Owing, perhaps, to what I must call its obscure popularity in the continental theatres, Dr. Strauss was preparing his remarkable opera at the very moment when there appeared the criticisms to which I refer, and since the production of the opera in Dresden in December, 1905, English musical journalists and correspondents always refer to the work as founded on Wilde's drama. That is the only way in which they can evade an awkward truth—a palpable contravention to their own wishes and theories. The music, however, has been set to the actual words of "Salomé" in Madame Hedwig Lachmann's admirable translation. The words have not been transfigured into ordinary operatic nonsense to suit the score, or the susceptibilities of the English people. I observe that admirers of Dr. Strauss are a little mortified that the great master should have found an occasion for composition in a play which they long ago consigned to oblivion and the shambles of Aubrey Beardsley. Wilde himself, in a rhetorical period, seems to have contemplated the possibility of his prose drama for a musical theme. In "De Profundis" he says: "The refrains, whose recurring motifs make 'Salomé' so like a piece of music, and bind it together as a ballad."

On the production of "Salomé" by the New Stage Club in May 1905,[1] the dramatic critics once again voiced their strong opinions, lamenting that the play had been pulled from obscurity. However, this little-known drama had become part of European literature for the past five years. It is performed regularly or occasionally in the Netherlands, Sweden, Italy, France, and Russia, and has been translated into every European language, including Czech. It is included in the repertoire of German theater, where it is staged more frequently than any play by any English writer except Shakespeare. Possibly due to its what I would call obscure popularity in continental theaters, Dr. Strauss was preparing his remarkable opera at the same time the critiques I mentioned appeared, and since the opera's premiere in Dresden in December 1905, English music journalists and correspondents always refer to the work as based on Wilde's drama. That’s the only way they can sidestep an uncomfortable truth—a clear contradiction to their own desires and theories. The music, however, is set to the actual words of "Salomé" in Madame Hedwig Lachmann's excellent translation. The words haven't been turned into typical operatic nonsense to fit the score or the sensitivities of the English audience. I've noticed that fans of Dr. Strauss are somewhat embarrassed that the great master found inspiration for his composition in a play they had long ago relegated to obscurity and the debris of Aubrey Beardsley. Wilde himself, in a rhetorical moment, seemed to ponder the idea of his prose drama as a musical theme. In "De Profundis," he says: "The refrains, whose recurring motifs make 'Salomé' so similar to a piece of music, and bind it together like a ballad."

He was still incarcerated in 1896, when Mons. Luigne Poë produced the play for the first time at the Théâtre Libre in Paris, with Lina Muntz in the title role. A rather pathetic reference to this occasion occurs in a letter Wilde wrote to me from Reading:—

He was still in prison in 1896 when Mons. Luigne Poë staged the play for the first time at the Théâtre Libre in Paris, with Lina Muntz in the lead role. A somewhat sad mention of this event appears in a letter Wilde wrote to me from Reading:—

"Please say how gratified I was at the performance of my play, and have my thanks conveyed to Luigne Poë. It is something that at a time of disgrace and shame I should still be regarded as an artist. I wish I could feel more pleasure, but I seem dead to all emotions except those of anguish and despair. However, please let Luigne Poë know that I am sensible of the honour he has done me. He is a poet himself. Write to me in answer to this, and try and see what Lemaitre, Bauer, and Sarcey said of 'Salomé.'"

"Please tell them how grateful I was for the performance of my play, and share my thanks with Luigne Poë. It’s remarkable that, even in a time of disgrace and shame, I’m still seen as an artist. I wish I could feel more joy, but I seem numb to all emotions except for those of pain and despair. Still, please let Luigne Poë know that I appreciate the honor he has given me. He is a poet himself. Write back to me in response to this, and see what Lemaitre, Bauer, and Sarcey said about 'Salomé.'"

The bias of personal friendship precludes me from praising or defending "Salomé," even if it were necessary to do so. Nothing I might say would add to the reputation of its detractors. Its sources are obvious; particularly Flaubert and Maeterlinck, in whose peculiar and original style it is an essay. A critic, for whom I have a greater regard than many of his contemporaries, says that "Salomé" is only a catalogue; but a catalogue can be intensely dramatic, as we know when the performance takes place at Christie's; few plays are more exciting than an auction in King Street when the stars are fighting for Sisera.

The bias of personal friendship prevents me from praising or defending "Salomé," even if it were necessary to do so. Nothing I could say would improve the reputation of its critics. Its influences are clear; especially Flaubert and Maeterlinck, whose distinctive and original style it imitates. A critic I respect more than many of his peers claims that "Salomé" is just a list; but a list can be incredibly dramatic, as we see during auctions at Christie's; few shows are more thrilling than an auction on King Street when the stars are competing for Sisera.

It has been remarked that Wilde confuses Herod the Great (Mat. xi. 1), Herod Antipas (Mat. xiv. 3), and Herod Agrippa (Acts xiii), but the confusion is intentional, as in mediæval mystery plays Herod is taken for a type, not an historical character, and the criticism is about as valuable as that of people who laboriously point out the anachronisms in Beardsley's designs. With reference to the charge of plagiarism brought against "Salomé" and its author, I venture to mention a personal recollection.

It has been pointed out that Wilde mixes up Herod the Great (Mat. xi. 1), Herod Antipas (Mat. xiv. 3), and Herod Agrippa (Acts xiii), but this confusion is intentional. In medieval mystery plays, Herod is viewed as a type rather than a historical figure, and the criticism is about as useful as those who painstakingly highlight the anachronisms in Beardsley's designs. Regarding the plagiarism accusations against "Salomé" and its author, I would like to share a personal memory.

Wilde complained to me one day that someone in a well-known novel had stolen an idea of his. I pleaded in defence of the culprit that Wilde himself was a fearless literary thief. "My dear fellow," he said, with his usual drawling emphasis, "when I see a monstrous tulip with four wonderful petals in someone else's garden, I am impelled to grow a monstrous tulip with five wonderful petals, but that is no reason why someone should grow a tulip with only three petals." THAT WAS OSCAR WILDE.

Wilde told me one day that someone in a famous novel had taken one of his ideas. I defended the person, arguing that Wilde was also a bold literary thief. "My dear friend," he said, with his usual drawn-out emphasis, "when I see a huge tulip with four amazing petals in someone else's garden, I'm inspired to grow a huge tulip with five amazing petals, but that doesn't mean someone else should grow a tulip with just three petals." THAT WAS OSCAR WILDE.

ROBERT ROSS.

[1] A more recent performance of "Salomé" (1906), by the Literary Theatre Club, has again produced an ebullition of rancour and deliberate misrepresentation on the part of the dramatic critics, the majority of whom are anxious to parade their ignorance of the continental stage. The production was remarkable on account of the beautiful dresses and mounting, for which Mr. Charles Ricketts was responsible, and the marvellous impersonation of Herod by Mr. Robert Farquharson. Wilde used to say that "Salomé" was a mirror in which everyone could see himself. The artist, art; the dull, dulness; the vulgar, vulgarity.

[1] A recent performance of "Salomé" (1906) by the Literary Theatre Club has again sparked a wave of bitterness and intentional misrepresentation from the critics, most of whom are eager to show off their lack of understanding of continental theater. The production was notable for its stunning costumes and set design by Mr. Charles Ricketts, as well as the incredible performance by Mr. Robert Farquharson as Herod. Wilde used to say that "Salomé" was a mirror in which everyone could see themselves. The artist, art; the dull, dullness; the vulgar, vulgarity.

1. THE WOMAN IN THE MOON. 2. TITLE PAGE. 3. COVER DESIGN. 4. LIST OF THE PICTURES. 5. THE PEACOCK SKIRT. 6. THE BLACK CAPE. 7. A PLATONIC LAMENT. 8. JOHN AND SALOMÉ. 9. ENTER HERODIAS. 10. THE EYES OF HEROD. 11. THE STOMACH DANCE. 12. THE TOILETTE OF SALOMÉ—I. 13. THE TOILETTE OF SALOMÉ—II. 14. THE DANCER'S REWARD. 15. THE CLIMAX. 16. CUL DE LAMPE.

Cast of the Performance of "Salomé," represented in England for the first time.

Cast of the Performance of "Salomé," presented in England for the first time.

NEW STAGE CLUB.

"SALOMÉ,"

BY OSCAR WILDE.

May 10th and 13th 1905.

A YOUNG SYRIAN CAPTAIN	—	MR. HERBERT ALEXANDER.
PAGE OF HERODIAS	—	MRS. GWENDOLEN BISHOP.
FIRST SOLDIER	—	MR. CHARLES GEE.
SECOND SOLDIER	—	MR. RALPH DE ROHAN.
CAPPADOCIAN	—	MR. CHARLES DALMON.
JOKANAAN	—	MR. VINCENT NELLO.
NAAMAN, THE EXECUTIONER	—	MR. W. EVELYN OSBORN.
SALOMÉ	—	Miss MILLICENT MURBY.
SLAVE	—	Miss CARRIE KEITH.
HEROD	—	MR. ROBERT FARQUHARSON.
HERODIAS	—	Miss LOUISE SALOM.
TIGELLINUS	—	MR. C.L. DELPH.
SLAVE	—	Miss STANSFELD.
FIRST JEW	—	MR. F. STANLEY SMITH.
SECOND JEW	—	MR. BERNHARD SMITH.
THIRD JEW	—	MR. JOHN BATE.
FOURTH JEW	—	STEPHEN BAGEHOT
FIFTH JEW	—	FREDERICK LAWRENCE.

Scene—THE GREAT TERRACE OUTSIDE THE PALACE.

Scene—THE GRAND TERRACE OUTSIDE THE PALACE.

SCENE.—A great terrace in the Palace of Herod, set above the banqueting-hall. Some soldiers are leaning over the balcony. To the right there is a gigantic staircase, to the left, at the back, an old cistern surrounded by a wall of green bronze. Moonlight.

SCENE.—A large terrace in Herod's Palace, above the banquet hall. Some soldiers are leaning over the balcony. To the right is a huge staircase, to the left, at the back, an old cistern surrounded by a wall of green bronze. Moonlight.

THE YOUNG SYRIAN

How beautiful is the Princess Salomé to-night!

How beautiful is Princess Salomé tonight!

THE PAGE OF HERODIAS

HERODIAS' PAGE

Look at the moon! How strange the moon seems! She is like a woman rising from a tomb. She is like a dead woman. You would fancy she was looking for dead things.

Look at the moon! How weird the moon looks! She’s like a woman coming out of a grave. She’s like a corpse. You’d think she was searching for the dead.

THE YOUNG SYRIAN

She has a strange look. She is like a little princess who wears a yellow veil, and whose feet are of silver. She is like a princess who has little white doves for feet. You would fancy she was dancing.

She has an unusual appearance. She resembles a little princess wearing a yellow veil, with silver feet. She’s like a princess whose feet are delicate white doves. You’d think she was dancing.

THE PAGE OF HERODIAS

HERODIAS'S PAGE

She is like a woman who is dead. She moves very slowly.

She is like a woman who is lifeless. She moves really slowly.

[Noise in the banqueting-hall.]

[Noise in the banquet hall.]

FIRST SOLDIER

What an uproar! Who are those wild beasts howling?

What a commotion! Who are those crazy animals making all that noise?

SECOND SOLDIER

The Jews. They are always like that. They are disputing about their religion.

The Jews. They're always like that. They're arguing about their religion.

FIRST SOLDIER

Why do they dispute about their religion?

Why are they arguing about their religion?

SECOND SOLDIER

I cannot tell. They are always doing it. The Pharisees, for instance, say that there are angels, and the Sadducees declare that angels do not exist.

I can't say. They're always at it. The Pharisees, for example, claim that angels exist, while the Sadducees insist that angels aren't real.

FIRST SOLDIER

I think it is ridiculous to dispute about such things.

I think it's ridiculous to argue about stuff like that.

THE YOUNG SYRIAN

How beautiful is the Princess Salomé to-night!

How beautiful is Princess Salomé tonight!

THE PAGE OF HERODIAS

HERODIAS’S PAGE

You are always looking at her. You look at her too much. It is dangerous to look at people in such fashion. Something terrible may happen.

You’re always watching her. You watch her way too much. It’s risky to look at people like that. Something awful could happen.

THE YOUNG SYRIAN

She is very beautiful to-night.

She is very beautiful tonight.

FIRST SOLDIER

The Tetrarch has a sombre look.

The Tetrarch has a serious expression.

SECOND SOLDIER

Yes; he has a sombre look.

Yes, he has a serious expression.

FIRST SOLDIER

He is looking at something.

He's checking something out.

SECOND SOLDIER

He is looking at some one.

He's looking at someone.

FIRST SOLDIER

At whom is he looking?

Who is he looking at?

SECOND SOLDIER

I cannot tell.

I can't say.

THE YOUNG SYRIAN

How pale the Princess is! Never have I seen her so pale. She is like the shadow of a white rose in a mirror of silver.

How pale the Princess is! I've never seen her look so pale. She resembles the shadow of a white rose reflected in a silver mirror.

THE PAGE OF HERODIAS

HERODIAS'S PAGE

You must not look at her. You look too much at her.

You shouldn't look at her. You stare at her too much.

FIRST SOLDIER

Herodias has filled the cup of the Tetrarch.

THE CAPPADOCIAN

THE CAPPADOCIA

Is that the Queen Herodias, she who wears a black mitre sewn with pearls, and whose hair is powdered with blue dust?

Is that Queen Herodias, the one wearing a black miter decorated with pearls, and whose hair is dusted with blue powder?

FIRST SOLDIER

Yes; that is Herodias, the Tetrarch's wife.

Yes, that’s Herodias, the wife of the Tetrarch.

SECOND SOLDIER

The Tetrarch is very fond of wine. He has wine of three sorts. One which is brought from the Island of Samothrace, and is purple like the cloak of Cæsar.

The Tetrarch loves wine. He has three kinds. One is brought from the Island of Samothrace, and it's purple like Cæsar's cloak.

THE CAPPADOCIAN

I have never seen Cæsar.

I have never seen Caesar.

SECOND SOLDIER

Another that comes from a town called Cyprus, and is yellow like gold.

Another one comes from a town called Cyprus, and it's yellow like gold.

THE CAPPADOCIAN

THE CAPPADOCIA

I love gold.

SECOND SOLDIER

And the third is a wine of Sicily. That wine is red like blood.

And the third is a wine from Sicily. That wine is red like blood.

THE NUBIAN

The gods of my country are very fond of blood. Twice in the year we sacrifice to them young men and maidens; fifty young men and a hundred maidens. But it seems we never give them quite enough, for they are very harsh to us.

The gods of my country really love blood. Twice a year, we sacrifice young men and women to them; fifty young men and a hundred women. But it feels like we never give them enough, because they are very unforgiving towards us.

THE CAPPADOCIAN

THE CAPPADOCIA

In my country there are no gods left. The Romans have driven them out. There are some who say that they have hidden themselves in the mountains, but I do not believe it. Three nights I have been on the mountains seeking them everywhere. I did not find them. And at last I called them by their names, and they did not come. I think they are dead.

In my country, there are no gods anymore. The Romans have chased them away. Some people say that they have hidden in the mountains, but I don’t believe that. I’ve spent three nights searching the mountains for them everywhere. I didn’t find them. Finally, I called out their names, and they didn’t show up. I think they are dead.

FIRST SOLDIER

The Jews worship a God that you cannot see.

The Jews worship a God that can't be seen.

THE CAPPADOCIAN

THE CAPPADOCIA

I cannot understand that.

I can't understand that.

FIRST SOLDIER

In fact, they only believe in things that you cannot see.

In fact, they only believe in things you can't see.

THE CAPPADOCIAN

That seems to me altogether ridiculous.

That seems completely ridiculous to me.

THE VOICE OF JOKANAAN

After me shall come another mightier than I. I am not worthy so much as to unloose the latchet of his shoes. When he cometh, the solitary places shall be glad. They shall blossom like the lily. The eyes of the blind shall see the day, and the ears of the deaf shall be opened. The new-born child shall put his hand upon the dragon's lair, he shall lead the lions by their manes.

After me, someone even more powerful will come. I'm not even worthy to untie his shoelaces. When he arrives, the desolate places will rejoice. They will bloom like lilies. The blind will see the light of day, and the deaf will hear. A newborn will touch the dragon's den, and he will lead the lions by their manes.

SECOND SOLDIER

Make him be silent. He is always saying ridiculous things.

Make him stop talking. He’s always saying absurd things.

FIRST SOLDIER

No, no. He is a holy man. He is very gentle, too. Every day, when I give him to eat he thanks me.

No, no. He’s a holy man. He’s also very gentle. Every day, when I feed him, he thanks me.

THE CAPPADOCIAN

THE CAPPADOCIA

Who is he?

FIRST SOLDIER

A prophet.

THE CAPPADOCIAN

THE CAPPADOCIA

What is his name?

What’s his name?

FIRST SOLDIER

Jokanaan.

THE CAPPADOCIAN

THE CAPPADOCIA

Whence comes he?

Where does he come from?

FIRST SOLDIER

From the desert, where he fed on locusts and wild honey. He was clothed in camel's hair, and round his loins he had a leathern belt. He was very terrible to look upon. A great multitude used to follow him. He even had disciples.

From the desert, where he ate locusts and wild honey. He wore camel's hair, and around his waist he had a leather belt. He looked pretty intimidating. A large crowd used to follow him. He even had followers.

THE CAPPADOCIAN

THE CAPPADOCIA

What is he talking of?

What is he talking about?

FIRST SOLDIER

We can never tell. Sometimes he says terrible things, but it is impossible to understand what he says.

We can never tell. Sometimes he says awful things, but it's impossible to understand him.

THE CAPPADOCIAN

THE CAPPADOCIA

May one see him?

Can one see him?

FIRST SOLDIER

No. The Tetrarch has forbidden it.

No. The Tetrarch has banned it.

THE YOUNG SYRIAN

The Princess has hidden her face behind her fan! Her little white hands are fluttering like doves that fly to their dove-cots. They are like white butterflies. They are just like white butterflies.

The Princess has concealed her face behind her fan! Her delicate white hands are fluttering like doves heading to their coops. They resemble white butterflies. They are just like white butterflies.

THE PAGE OF HERODIAS

HERODIAS' PAGE

What is that to you? Why do you look at her? You must not look at her.... Something terrible may happen.

What does that matter to you? Why are you staring at her? You shouldn't be looking at her... Something awful could happen.

THE CAPPADOCIAN

THE CAPPADOCIA

[Pointing to the cistern.]

[Pointing to the tank.]

What a strange prison!

What a weird prison!

SECOND SOLDIER

It is an old cistern.

It's an old water tank.

THE CAPPADOCIAN

THE CAPPADOCIA

An old cistern! It must be very unhealthy.

An old cistern! That has to be really unhealthy.

SECOND SOLDIER

Oh no! For instance, the Tetrarch's brother, his elder brother, the first husband of Herodias the Queen, was imprisoned there for twelve years. It did not kill him. At the end of the twelve years he had to be strangled.

Oh no! For example, the Tetrarch's brother, his older brother, the first husband of Queen Herodias, was locked up there for twelve years. It didn't kill him. After the twelve years, he had to be strangled.

THE CAPPADOCIAN

Strangled? Who dared to do that?

Strangled? Who would have the guts to do that?

SECOND SOLDIER

[Pointing to the Executioner, a huge Negro.]

[Pointing to the executioner, a large Black man.]

That man yonder, Naaman.

That guy over there, Naaman.

THE CAPPADOCIAN

THE CAPPADOCIA

He was not afraid?

Was he not afraid?

SECOND SOLDIER

Oh no! The Tetrarch sent him the ring.

THE CAPPADOCIAN

THE CAPPADOCIA

What ring?

Which ring?

SECOND SOLDIER

The death-ring. So he was not afraid.

The death ring. So he wasn’t scared.

THE CAPPADOCIAN

THE CAPPADOCIA

Yet it is a terrible thing to strangle a king.

Yet it is a terrible thing to choke a king.

FIRST SOLDIER

Why? Kings have but one neck, like other folk.

Why? Kings have just one neck, like everyone else.

THE CAPPADOCIAN

THE CAPPADOCIA

I think it terrible.

I think it's terrible.

THE YOUNG SYRIAN

The Princess rises! She is leaving the table! She looks very troubled. Ah, she is coming this way. Yes, she is coming towards us. How pale she is! Never have I seen her so pale.

The Princess is getting up! She’s leaving the table! She looks really upset. Oh, she’s walking this way. Yes, she’s coming toward us. She looks so pale! I’ve never seen her so pale before.

THE PAGE OF HERODIAS

HERODIAS'S PAGE

Do not look at her. I pray you not to look at her.

Do not look at her. I'm asking you not to look at her.

THE YOUNG SYRIAN

She is like a dove that has strayed.... She is like a narcissus trembling in the wind.... She is like a silver flower.

She is like a dove that has wandered off.... She is like a daffodil swaying in the breeze.... She is like a silver blossom.

[Enter Salomé.]

SALOMÉ

I will not stay. I cannot stay. Why does the Tetrarch look at me all the while with his mole's eyes under his shaking eyelids? It is strange that the husband of my mother looks at me like that. I know not what it means. In truth, yes, I know it.

I won’t stay. I can’t stay. Why does the Tetrarch keep staring at me with his tiny eyes under his shaking eyelids? It’s odd that my mother’s husband looks at me like this. I don’t know what it means. Actually, yes, I do know.

THE YOUNG SYRIAN

You have just left the feast, Princess?

Did you just leave the feast, Princess?

SALOMÉ

How sweet the air is here! I can breathe here! Within there are Jews from Jerusalem who are tearing each other in pieces over their foolish ceremonies, and barbarians who drink and drink, and spill their wine on the pavement, and Greeks from Smyrna with painted eyes and painted cheeks, and frizzed hair curled in twisted coils, and silent, subtle Egyptians, with long nails of jade and russett cloaks, and Romans brutal and coarse, with their uncouth jargon. Ah! how I loathe the Romans! They are rough and common, and they give themselves the airs of noble lords.

How sweet the air is here! I can breathe here! Inside, there are Jews from Jerusalem fighting over their ridiculous ceremonies, and barbarians who drink and drink, spilling their wine on the ground, and Greeks from Smyrna with make-up and styled hair, and quiet, crafty Egyptians with long jade nails and russet cloaks, and Romans who are brutal and uncouth, speaking in their crude language. Ah! how I can't stand the Romans! They are rough and ordinary, yet they act like noble lords.

THE YOUNG SYRIAN

Will you be seated, Princess?

Will you take a seat, Princess?

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Why do you speak to her? Why do you look at her? Oh! something terrible will happen.

Why are you talking to her? Why are you looking at her? Oh! something bad is going to happen.

SALOMÉ

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.

How nice to see the moon! It looks like a little coin, like a tiny silver flower. The moon is cool and pure. I'm sure she's a virgin; she has a virgin's beauty. Yes, she is a virgin. She has never compromised herself. She has never given herself to men, like the other goddesses.

THE VOICE OF JOKANAAN

The Lord hath come. The son of man hath come. The centaurs have hidden themselves in the rivers, and the sirens have left the rivers, and are lying beneath the leaves of the forest.

The Lord has arrived. The son of man has arrived. The centaurs have hidden themselves in the rivers, and the sirens have left the rivers, and are lying under the leaves of the forest.

SALOMÉ

Who was that who cried out?

Who shouted that?

SECOND SOLDIER

The prophet, Princess.

SALOMÉ

Ah, the prophet! He of whom the Tetrarch is afraid?

Ah, the prophet! The one whom the Tetrarch fears?

SECOND SOLDIER

We know nothing of that, Princess. It was the prophet Jokanaan who cried out.

We don't know anything about that, Princess. It was the prophet Jokanaan who shouted.

THE YOUNG SYRIAN

Is it your pleasure that I bid them bring your litter, Princess? The night is fair in the garden.

Is it your wish for me to have them bring your litter, Princess? The night is lovely in the garden.

SALOMÉ

Salome

He says terrible things about my mother, does he not?

He says awful things about my mom, doesn’t he?

SECOND SOLDIER

We never understand what he says, Princess.

We never get what he’s saying, Princess.

SALOMÉ

Yes; he says terrible things about her.

Yes; he talks badly about her.

[Enter a Slave.]

[Join a Slave.]

THE SLAVE

Princess, the Tetrarch prays you to return to the feast.

Princess, the Tetrarch asks you to come back to the feast.

SALOMÉ

I will not go back.

I'm not going back.

THE YOUNG SYRIAN

Pardon me, Princess, but if you do not return some misfortune may happen.

Pardon me, Princess, but if you don't come back, something bad might happen.

SALOMÉ

Is he an old man, this prophet?

Is this prophet an old man?

THE YOUNG SYRIAN

Princess, it were better to return. Suffer me to lead you in.

Princess, it would be better to go back. Let me take you inside.

SALOMÉ

This prophet ... is he an old man?

This prophet ... is he an old guy?

FIRST SOLDIER

No, Princess, he is quite a young man.

No, Princess, he’s just a young guy.

SECOND SOLDIER

You cannot be sure. There are those who say he is Elias.

You can't be sure. Some people say he is Elias.

SALOMÉ

Who is Elias?

Who’s Elias?

SECOND SOLDIER

A very ancient prophet of this country, Princess.

A very old prophet of this country, Princess.

THE SLAVE

What answer may I give the Tetrarch from the Princess?

What response can I give the Tetrarch on behalf of the Princess?

THE VOICE OF JOKANAAN

Rejoice not thou, land of Palestine, because the rod of him who smote thee is broken. For from the seed of the serpent shall come forth a basilisk, and that which is born of it shall devour the birds.

Rejoice not, land of Palestine, because the one who struck you is defeated. For from the seed of the serpent will come a basilisk, and what is born from it will devour the birds.

SALOMÉ

What a strange voice! I would speak with him.

What a weird voice! I want to talk to him.

FIRST SOLDIER

I fear it is impossible, Princess. The Tetrarch does not wish any one to speak with him. He has even forbidden the high priest to speak with him.

I’m afraid it’s impossible, Princess. The Tetrarch doesn’t want anyone talking to him. He’s even banned the high priest from speaking with him.

SALOMÉ

I desire to speak with him.

I want to talk to him.

FIRST SOLDIER

It is impossible, Princess.

It's impossible, Princess.

SALOMÉ

I will speak with him.

I'll talk to him.

THE YOUNG SYRIAN

Would it not be better to return to the banquet?

Wouldn't it be better to go back to the party?

SALOMÉ

Bring forth this prophet.

Bring in this prophet.

[Exit the slave.]

[Free the slave.]

FIRST SOLDIER

We dare not, Princess.

We can't, Princess.

SALOMÉ

[Approaching the cistern and looking down into it.]

[Getting closer to the cistern and peering into it.]

How black it is, down there! It must be terrible to be in so black a pit! It is like a tomb.... [To the soldiers.] Did you not hear me? Bring out the prophet. I wish to see him.

How dark it is down there! It must be awful to be in such a dark pit! It feels like a tomb.... [To the soldiers.] Didn’t you hear me? Bring out the prophet. I want to see him.

SECOND SOLDIER

Princess, I beg you do not require this of us.

Princess, please don’t ask this of us.

SALOMÉ

You keep me waiting!

You're making me wait!

FIRST SOLDIER

Princess, our lives belong to you, but we cannot do what you have asked of us. And indeed, it is not of us that you should ask this thing.

Princess, our lives are yours, but we can't do what you've asked of us. And honestly, it's not us you should be asking for this.

SALOMÉ

[Looking at the young Syrian.]

[Watching the young Syrian.]

Ah!

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Oh! what is going to happen? I am sure that some misfortune will happen.

Oh! What’s going to happen? I’m sure something bad is going to occur.

SALOMÉ

[Going up to the young Syrian.]

[Meeting the young Syrian.]

You will do this tiling for me, will you not, Narraboth? You will do this thing for me. I have always been kind to you. You will do it for me. I would but look at this strange prophet. Men have talked so much of him. Often have I heard the Tetrarch talk of him. I think the Tetrarch is afraid of him. Are you, even you, also afraid of him, Narraboth?

You'll do this tiling for me, right, Narraboth? You'll do this for me. I've always been good to you. You'll do it for me. I would, but look at this strange prophet. People have said so much about him. I've often heard the Tetrarch mention him. I think the Tetrarch is afraid of him. Are you, even you, afraid of him too, Narraboth?

THE YOUNG SYRIAN

I fear him not, Princess; there is no man I fear. But the Tetrarch has formally forbidden that any man should raise the cover of this well.

I’m not afraid of him, Princess; I’m not afraid of any man. But the Tetrarch has officially banned anyone from lifting the cover of this well.

SALOMÉ

You will do this thing for me, Narraboth, and to-morrow when I pass in my litter beneath the gateway of the idol-sellers I will let fall for you a little flower, a little green flower.

You will do this for me, Narraboth, and tomorrow when I pass in my litter beneath the gate of the idol-sellers, I will drop a little flower for you, a little green flower.

THE YOUNG SYRIAN

Princess, I cannot, I cannot.

Princess, I can’t, I can’t.

SALOMÉ

[Smiling.]

You will do this thing for me, Narraboth. You know that you will do this thing for me. And to-morrow when I pass in my litter by the bridge of the idol-buyers, I will look at you through the muslin veils, I will look at you, Narraboth, it may be I will smile at you. Look at me, Narraboth, look at me. Ah! you know that you will do what I ask of you. You know it well.... I know that you will do this thing.

You’re going to do this for me, Narraboth. You know you will. Tomorrow, when I pass by the bridge where the idol-buyers are, I’ll look at you through the muslin veils. I will look at you, Narraboth, and maybe I’ll smile at you. Look at me, Narraboth, look at me. Ah! You know you will do what I ask of you. You know it well... I know you’ll do this.

THE YOUNG SYRIAN

[Signing to the third soldier.]

Let the prophet come forth.... The Princess Salomé desires to see him.

Let the prophet come forward... Princess Salomé wants to see him.

SALOMÉ

Ah!

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Oh! How strange the moon looks. You would think it was the hand of a dead woman who is seeking to cover herself with a shroud.

Oh! How strange the moon looks. You would think it was the hand of a dead woman trying to cover herself with a shroud.

THE YOUNG SYRIAN

She has a strange look! She is like a little princess, whose eyes are eyes of amber. Through the clouds of muslin she is smiling like a little princess.

She has a unique look! She’s like a little princess, with eyes like amber. Behind the clouds of muslin, she smiles like a little princess.

[The prophet comes out of the cistern. Salomé looks at him and steps slowly back.]

[The prophet comes out of the well. Salomé sees him and slowly steps back.]

JOKANAAN

Where is he whose cup of abominations is now full? Where is he, who in a robe of silver shall one day die in the face of all the people? Bid him come forth, that he may hear the voice of him who hath cried in the waste places and in the houses of kings.

Where is the one whose cup of wrongdoings is now full? Where is the one who, dressed in silver, will one day die in front of everyone? Tell him to come forward so he can hear the voice of the one who has called out in the desolate places and in the palaces of kings.

SALOMÉ

Of whom is he speaking?

Who is he talking about?

THE YOUNG SYRIAN

You can never tell, Princess.

You never know, Princess.

JOKANAAN

Where is she who having seen the images of men painted on the walls, the images of the Chaldeans limned in colours, gave herself up unto the lust of her eyes, and sent ambassadors into Chaldea?

Where is she who, after seeing the images of men painted on the walls, the images of the Chaldeans depicted in colors, gave herself up to her desires and sent messengers to Chaldea?

SALOMÉ

It is of my mother that he speaks.

It’s my mother he’s talking about.

THE YOUNG SYRIAN

Oh, no, Princess.

Oh no, Princess.

SALOMÉ

Yes; it is of my mother that he speaks.

Yes, he is talking about my mother.

JOKANAAN

Where is she who gave herself unto the Captains of Assyria, who have baldricks on their loins, and tiaras of divers colours on their heads? Where is she who hath given herself to the young men of Egypt, who are clothed in fine linen and purple, whose shields are of gold, whose helmets are of silver, whose bodies are mighty? Bid her rise up from the bed of her abominations, from the bed of her incestuousness, that she may hear the words of him who prepareth the way of the Lord, that she may repent her of her iniquities. Though she will never repent, but will stick fast in her abominations; bid her come, for the fan of the Lord is in His hand.

Where is she who gave herself to the leaders of Assyria, who wear sashes around their waists and colorful tiaras on their heads? Where is she who has given herself to the young men of Egypt, who are dressed in fine linen and purple, whose shields are made of gold, whose helmets are silver, and whose bodies are strong? Tell her to rise up from her life of corruption, from her immoralities, so she can hear the words of the one preparing the way for the Lord, that she may regret her sins. Even though she probably won't change and will remain stuck in her wrongdoings; call her to come, for the Lord's winnowing fork is in His hand.

SALOMÉ

But he is terrible, he is terrible!

But he is awful, he is awful!

THE YOUNG SYRIAN

Do not stay here, Princess, I beseech you.

Don't stay here, Princess, I beg you.

SALOMÉ

It is his eyes above all that are terrible. They are like black holes burned by torches in a Tyrian tapestry. They are like black caverns where dragons dwell. They are like the black caverns of Egypt in which the dragons make their lairs. They are like black lakes troubled by fantastic moons.... Do you think he will speak again?

It’s his eyes that are the most horrifying. They’re like black holes scorched by torches in a rich purple tapestry. They resemble dark caves where dragons live. They remind me of the black caves in Egypt where dragons make their homes. They’re akin to dark lakes disturbed by strange moons… Do you think he’ll speak again?

THE YOUNG SYRIAN

Do not stay here, Princess. I pray you do not stay here.

Do not stay here, Princess. Please, I hope you won't stay here.

SALOMÉ

How wasted he is! He is like a thin ivory statue. He is like an image of silver. I am sure he is chaste as the moon is. He is like a moonbeam, like a shaft of silver. His flesh must be cool like ivory. I would look closer at him.

How wasted he is! He looks like a thin ivory statue. He resembles a silver image. I’m sure he’s as pure as the moon. He’s like a moonbeam, like a ray of silver. His skin must be cool like ivory. I want to take a closer look at him.

THE YOUNG SYRIAN

No, no, Princess.

SALOMÉ

I must look at him closer.

I need to take a closer look at him.

THE YOUNG SYRIAN

Princess! Princess!

JOKANAAN

Jokanaan

Who is this woman who is looking at me? I will not have her look at me. Wherefore doth she look at me with her golden eyes, under her gilded eyelids? I know not who she is. I do not wish to know who she is. Bid her begone. It is not to her that I would speak.

Who is this woman staring at me? I won’t let her look at me. Why does she gaze at me with her golden eyes beneath her fancy eyelids? I don’t know who she is. I don’t want to know who she is. Tell her to go away. I have nothing to say to her.

SALOMÉ

I am Salomé, daughter of Herodias, Princess of Judæa.

I am Salomé, daughter of Herodias, Princess of Judea.

JOKANAAN

Back! daughter of Babylon! Come not near the chosen of the Lord. Thy mother hath filled the earth with the wine of her iniquities, and the cry of her sins hath come up to the ears of God.

Back! daughter of Babylon! Don’t come near the chosen of the Lord. Your mother has filled the earth with the wine of her wrongdoings, and the sound of her sins has reached the ears of God.

SALOMÉ

Speak again, Jokanaan. Thy voice is wine to me.

Speak again, Jokanaan. Your voice is like wine to me.

THE YOUNG SYRIAN

Princess! Princess! Princess!

SALOMÉ

Speak again! Speak again, Jokanaan, and tell me what I must do.

Speak again! Speak again, Jokanaan, and tell me what I need to do.

JOKANAAN

Daughter of Sodom, come not near me! But cover thy face with a veil, and scatter ashes upon thine head, and get thee to the desert and seek out the Son of Man.

Daughter of Sodom, stay away from me! But put a veil over your face, throw ashes on your head, and go to the desert to find the Son of Man.

SALOMÉ

Who is he, the Son of Man? Is he as beautiful as thou art, Jokanaan?

Who is he, the Son of Man? Is he as beautiful as you are, Jokanaan?

JOKANAAN

Get thee behind me! I hear in the palace the beating of the wings of the angel of death.

Get away from me! I hear the wings of the angel of death beating in the palace.

THE YOUNG SYRIAN

Princess, I beseech thee to go within.

Princess, please come inside.

JOKANAAN

Angel of the Lord God, what dost thou here with thy sword? Whom seekest thou in this foul palace? The day of him who shall die in a robe of silver has not yet come.

Angel of the Lord God, what are you doing here with your sword? Who are you searching for in this terrible palace? The day of the one who will die in a silver robe hasn’t come yet.

SALOMÉ

Jokanaan!

Joker!

JOKANAAN

Who speaketh?

Who speaks?

SALOMÉ

Jokanaan, I am amorous of thy body! Thy body is white like the lilies of a field that the mower hath never mowed. Thy body is white like the snows that lie on the mountains, like the snows that lie on the mountains of Judæa, and come down into the valleys. The roses in the garden of the Queen of Arabia are not so white as thy body. Neither the roses in the garden of the Queen of Arabia, the perfumed garden of spices of the Queen of Arabia, nor the feet of the dawn when they light on the leaves, nor the breast of the moon when she lies on the breast of the sea.... There is nothing in the world so white as thy body. Let me touch thy body.

Jokanaan, I’m in love with your body! Your body is as white as the lilies in a field that haven’t been mowed. Your body is as white as the snow on the mountains, like the snow on the mountains of Judea, which flows down into the valleys. The roses in the garden of the Queen of Arabia aren’t as white as your body. Neither the roses in the garden of the Queen of Arabia, the fragrant spice garden of the Queen of Arabia, nor the feet of the dawn when they touch the leaves, nor the breast of the moon when she rests on the sea... There’s nothing in the world as white as your body. Let me touch your body.

JOKANAAN

Back! daughter of Babylon! By woman came evil into the world. Speak not to me. I will not listen to thee. I listen but to the voice of the Lord God.

Back! daughter of Babylon! Evil entered the world through a woman. Don't speak to me. I won't listen to you. I only listen to the voice of the Lord God.

SALOMÉ

Thy body is hideous. It is like the body of a leper. It is like a plastered wall where vipers have crawled; like a plastered wall where the scorpions have made their nest. It is like a whitened sepulchre full of loathsome things. It is horrible, thy body is horrible. It is of thy hair that I am enamoured, Jokanaan. Thy hair is like clusters of grapes, like the clusters of black grapes that hang from the vine-trees of Edom in the land of the Edomites. Thy hair is like the cedars of Lebanon, like the great cedars of Lebanon that give their shade to the lions and to the robbers who would hide themselves by day. The long black nights, when the moon hides her face, when the stars are afraid, are not so black. The silence that dwells in the forest is not so black. There is nothing in the world so black as thy hair.... Let me touch thy hair.

Your body is ugly. It's like the body of a leper. It's like a plastered wall where vipers have crawled; like a plastered wall where scorpions have made their nests. It's like a whitened tomb full of disgusting things. It's horrible, your body is horrible. It's your hair that I adore, Jokanaan. Your hair is like bunches of grapes, like the clusters of black grapes that hang from the vines in Edom, in the land of the Edomites. Your hair is like the cedars of Lebanon, like the great cedars of Lebanon that provide shade for lions and robbers who hide during the day. The long black nights, when the moon hides her face, when the stars are afraid, aren't as dark. The silence in the forest isn't as dark. There's nothing in the world as dark as your hair.... Let me touch your hair.

JOKANAAN

Back, daughter of Sodom! Touch me not. Profane not the temple of the Lord God.

Back off, daughter of Sodom! Don’t touch me. Don’t disrespect the temple of the Lord God.

SALOMÉ

Thy hair is horrible. It is covered with mire and dust. It is like a crown of thorns which they have placed on thy forehead. It is like a knot of black serpents writhing round thy neck. I love not thy hair.... It is thy mouth that I desire, Jokanaan. Thy mouth is like a band of scarlet on a tower of ivory. It is like a pomegranate cut with a knife of ivory. The pomegranate-flowers that blossom in the gardens of Tyre, and are redder than roses, are not so red. The red blasts of trumpets that herald the approach of kings, and make afraid the enemy, are not so red. Thy mouth is redder than the feet of those who tread the wine in the wine-press. Thy mouth is redder than the feet of the doves who haunt the temples and are fed by the priests. It is redder than the feet of him who cometh from a forest where he hath slain a lion, and seen gilded tigers. Thy mouth is like a branch of coral that fishers have found in the twilight of the sea, the coral that they keep for the kings!... It is like the vermilion that the Moabites find in the mines of Moab, the vermilion that the kings take from them. It is like the bow of the King of the Persians, that is painted with vermilion, and is tipped with coral. There is nothing in the world so red as thy mouth.... Let me kiss thy mouth.

Your hair is terrible. It's covered in mud and dust. It’s like a crown of thorns on your head. It’s like a tangle of black snakes twisting around your neck. I don't like your hair.... It’s your mouth that I want, Jokanaan. Your mouth is like a band of red against a tower of ivory. It’s like a pomegranate sliced with an ivory knife. The pomegranate flowers that bloom in the gardens of Tyre, brighter than roses, aren’t as red. The loud blasts of trumpets that announce the arrival of kings and scare the enemies aren’t as red. Your mouth is redder than the feet of those who tread grapes in the winepress. It’s redder than the feet of the doves that linger around the temples, fed by the priests. It’s redder than the feet of someone who comes from a forest where they killed a lion and saw gilded tigers. Your mouth is like a piece of coral found by fishermen in the twilight of the sea, the coral that they save for kings!... It’s like the red mineral that the Moabites find in their mines, the red that kings take from them. It’s like the bow of the Persian King, painted bright red and tipped with coral. There’s nothing in the world as red as your mouth.... Let me kiss your mouth.

JOKANAAN

Never! daughter of Babylon! Daughter of Sodom! Never.

SALOMÉ

I will kiss thy mouth, Jokanaan. I will kiss thy mouth.

I will kiss your mouth, Jokanaan. I will kiss your mouth.

THE YOUNG SYRIAN

Princess, Princess, thou who art like a garden of myrrh, thou who art the dove of all doves, look not at this man, look not at him! Do not speak such words to him. I cannot suffer them.... Princess, Princess, do not speak these things.

Princess, Princess, you who are like a garden of myrrh, you who are the dove of all doves, don’t look at this man, don’t look at him! Don’t say those things to him. I can’t bear it.... Princess, Princess, please don’t say these things.

SALOMÉ

I will kiss thy mouth, Jokanaan.

I will kiss your mouth, Jokanaan.

THE YOUNG SYRIAN

Ah! [He kills himself and falls between Salomé and Jokanaan.]

Ah! [He takes his own life and falls between Salomé and Jokanaan.]

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HERODIAS'S PAGE

The young Syrian has slain himself! The young captain has slain himself! He has slain himself who was my friend! I gave him a little box of perfumes and ear-rings wrought in silver, and now he has killed himself! Ah, did he not foretell that some misfortune would happen? I, too, foretold it, and it has happened. Well I knew that the moon was seeking a dead thing, but I knew not that it was he whom she sought. Ah! why did I not hide him from the moon? If I had hidden him in a cavern she would not have seen him.

The young Syrian has taken his own life! The young captain has taken his own life! He has taken his own life, and he was my friend! I gave him a small box of perfumes and silver earrings, and now he’s gone! Ah, didn’t he predict that something terrible would happen? I sensed it too, and now it’s come true. I knew the moon was looking for something dead, but I didn’t realize it was him. Ah! Why didn’t I hide him from the moon? If I had hidden him in a cave, she wouldn’t have found him.

FIRST SOLDIER

Princess, the young captain has just killed himself.

Princess, the young captain has just taken his own life.

SALOMÉ

Let me kiss thy mouth, Jokanaan.

Let me kiss your mouth, Jokanaan.

JOKANAAN

JOHN

Art thou not afraid, daughter of Herodias? Did I not tell thee that I had heard in the palace the beatings of the wings of the angel of death, and hath he not come, the angel of death?

Are you not afraid, daughter of Herodias? Didn't I tell you that I heard in the palace the sound of the angel of death's wings, and has he not come, the angel of death?

SALOMÉ

Let me kiss thy mouth.

Let me kiss your mouth.

JOKANAAN

Daughter of adultery, there is but one who can save thee, it is He of whom I spake. Go seek Him. He is in a boat on the sea of Galilee, and He talketh with His disciples. Kneel down on the shore of the sea, and call unto Him by His name. When He cometh to thee (and to all who call on Him He cometh), bow thyself at His feet and ask of Him the remission of thy sins.

Daughter of infidelity, there's only one person who can save you, and that's the one I mentioned. Go look for Him. He's in a boat on the Sea of Galilee, talking with His disciples. Kneel down on the shore and call out to Him by name. When He comes to you (and He comes to everyone who calls on Him), bow at His feet and ask for the forgiveness of your sins.

SALOMÉ

Let me kiss thy mouth.

Let me kiss your mouth.

JOKANAAN

Cursed be thou! daughter of an incestuous mother, be thou accursed!

Cursed are you! daughter of an incestuous mother, may you be cursed!

SALOMÉ

I will kiss thy mouth, Jokanaan.

I will kiss your mouth, Jokanaan.

JOKANAAN

I do no wish to look at thee. I will not look at thee, thou art accursed, Salomé, thou art accursed. [He goes down into the cistern.]

I don't want to look at you. I won't look at you, you are cursed, Salomé, you are cursed. [He goes down into the cistern.]

SALOMÉ

I will kiss thy mouth, Jokanaan; I will kiss thy mouth.

I will kiss your mouth, Jokanaan; I will kiss your mouth.

FIRST SOLDIER

We must bear away the body to another place. The Tetrarch does not care to see dead bodies, save the bodies of those whom he himself has slain.

We need to take the body somewhere else. The Tetrarch doesn't want to see dead bodies, except for the ones he himself has killed.

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HERODIAS'S PAGE

He was my brother, and nearer to me than a brother. I gave him a little box full of perfumes, and a ring of agate that he wore always on his hand. In the evening we used to walk by the river, among the almond trees, and he would tell me of the things of his country. He spake ever very low. The sound of his voice was like the sound of the flute, of a flute player. Also he much loved to gaze at himself in the river. I used to reproach him for that.

He was my brother, and closer to me than any brother could be. I gave him a small box filled with perfumes and an agate ring that he always wore on his hand. In the evenings, we would walk by the river, among the almond trees, and he would share stories about his homeland. He always spoke very softly. His voice sounded like a flute, like that of a flute player. He also loved to look at his reflection in the river, and I often teased him about it.

SECOND SOLDIER

You are right; we must hide the body. The Tetrarch must not see it.

You're right; we need to hide the body. The Tetrarch can't see it.

FIRST SOLDIER

The Tetrarch will not come to this place. He never comes on the terrace. He is too much afraid of the prophet.

The Tetrarch won’t come here. He never shows up on the terrace. He’s too scared of the prophet.

[Enter Herod, Herodias, and all the Court.]

HEROD

Where is Salomé? Where is the Princess? Why did she not return to the banquet as I commanded her? Ah! there she is!

Where is Salomé? Where is the Princess? Why didn't she come back to the banquet like I told her to? Ah! There she is!

HERODIAS

You must not look at her! You are always looking at her!

You can't keep looking at her! You're always staring at her!

HEROD

The moon has a strange look to-night. 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.... I am sure she is looking for lovers. Does she not reel like a drunken woman? She is like a mad woman, is she not?

The moon looks odd tonight. Doesn’t she? She’s like a crazy woman, wandering around looking for lovers. She’s also completely exposed. The clouds are trying to cover her up, but she won’t let them. She reveals herself bare in the sky. She stumbles through the clouds like someone who’s had too much to drink.... I’m sure she’s searching for lovers. Doesn’t she stumble like someone who’s drunk? She really is like a crazy woman, isn’t she?

HERODIAS

Herodias

No; the moon is like the moon, that is all. Let us go within.... You have nothing to do here.

No; the moon is just the moon, that's all. Let's go inside.... You don't have anything to do here.

HEROD

I will stay here! Manesseh, lay carpets there. Light torches, bring forth the ivory tables, and the tables of jasper. The air here is delicious. I will drink more wine with my guests. We must show all honours to the ambassadors of Cæsar.

I’m staying here! Manesseh, lay down the carpets. Light the torches, bring out the ivory tables and the jasper tables. The air here is wonderful. I’m going to drink more wine with my guests. We must honor the ambassadors of Caesar.

HERODIAS

It is not because of them that you remain.

It’s not because of them that you stick around.

HEROD

Yes; the air is delicious. Come, Herodias, our guests await us. Ah! I have slipped! I have slipped in blood! It is an ill omen. It is a very evil omen. Wherefore is there blood here?... and this body, what does this body here? Think you I am like the King of Egypt, who gives no feast to his guests but that he shows them a corpse? Whose is it? I will not look on it.

Yes, the air is amazing. Come on, Herodias, our guests are waiting for us. Oh! I've slipped! I've slipped in blood! That's a bad sign. It's a really terrible sign. Why is there blood here?... and this body, what is this body doing here? Do you think I'm like the King of Egypt, who doesn't host a feast without showing his guests a corpse? Whose is it? I refuse to look at it.

FIRST SOLDIER

It is our captain, sire. He is the young Syrian whom you made captain only three days ago.

It’s our captain, sir. He’s the young Syrian you appointed as captain just three days ago.

HEROD

I gave no order that he should be slain.

I didn’t give any order for him to be killed.

SECOND SOLDIER

He killed himself, sire.

He took his own life, sire.

HEROD

For what reason? I had made him captain.

For what reason? I had made him the captain.

SECOND SOLDIER

We do not know, sire. But he killed himself.

We don’t know, sir. But he took his own life.

HEROD

That seems strange to me. I thought it was only the Roman philosophers who killed themselves. Is it not true, Tigellinus, that the philosophers at Rome kill themselves?

That seems weird to me. I thought only the Roman philosophers took their own lives. Is it not true, Tigellinus, that philosophers in Rome do kill themselves?

TIGELLINUS

Tigellinus

There are some who kill themselves, sire. They are the Stoics. The Stoics are coarse people. They are ridiculous people. I myself regard them as being perfectly ridiculous.

There are some who take their own lives, sir. They are the Stoics. The Stoics are rough individuals. They are laughable people. I personally find them completely laughable.

HEROD

I also. It is ridiculous to kill oneself.

I agree. It's crazy to take your own life.

TIGELLINUS

Tigellinus

Everybody at Rome laughs at them. The Emperor has written a satire against them. It is recited everywhere.

Everyone in Rome laughs at them. The Emperor has written a satire about them. It’s being recited everywhere.

HEROD

Ah! he has written a satire against them? Cæsar is wonderful. He can do everything.... It is strange that the young Syrian has killed himself. I am sorry he has killed himself. I am very sorry; for he was fair to look upon. He was even very fair. He had very languorous eyes. I remember that I saw that he looked languorously at Salomé. Truly, I thought he looked too much at her.

Ah! He wrote a satire about them? Cæsar is amazing. He can do anything... It's odd that the young Syrian killed himself. I really wish he hadn't. I'm really sorry; he was good-looking. He was very good-looking. He had very dreamy eyes. I remember thinking he looked longingly at Salomé. Honestly, I thought he stared at her too much.

HERODIAS

Herodias

There are others who look at her too much.

There are others who stare at her too much.

HEROD

His father was a king. I drove him from his kingdom. And you made a slave of his mother, who was a queen, Herodias. So he was here as my guest, as it were, and for that reason I made him my captain. I am sorry he is dead. Ho! why have you left the body here? I will not look at it—away with it! [They take away the body.] It is cold here. There is a wind blowing. Is there not a wind blowing?

His father was a king. I drove him out of his kingdom. And you turned his mother, who was a queen, Herodias, into a slave. So he was here as my guest, in a way, and because of that, I made him my captain. I’m sorry he’s dead. Hey! Why is the body still here? I don't want to see it—get rid of it! [They take away the body.] It’s cold here. There’s a wind blowing. Isn’t there a wind blowing?

HERODIAS

Herodias

No; there is no wind.

No, there’s no wind.

HEROD

I tell you there is a wind that blows.... And I hear in the air something that is like the beating of wings, like the beating of vast wings. Do you not hear it?

I’m telling you there’s a wind blowing.... And I hear something in the air that sounds like the beating of wings, like the sound of huge wings. Don’t you hear it?

HERODIAS

Herodias

I hear nothing.

I can't hear anything.

HEROD

I hear it no longer. But I heard it. It was the blowing of the wind, no doubt. It has passed away. But no, I hear it again. Do you not hear it? It is just like the beating of wings.

I can't hear it anymore. But I did hear it. It was definitely the sound of the wind. It's gone now. But wait, I can hear it again. Can you not hear it? It's just like the sound of wings flapping.

HERODIAS

Herodias

I tell you there is nothing. You are ill. Let us go within.

I’m telling you, there’s nothing. You’re unwell. Let’s go inside.

HEROD

I am not ill. It is your daughter who is sick. She has the mien of a sick person. Never have I seen her so pale.

I’m not sick. It’s your daughter who’s unwell. She looks like someone who’s ill. I’ve never seen her look this pale.

HERODIAS

I have told you not to look at her.

I told you not to look at her.

HEROD

Pour me forth wine [wine is brought]. Salomé, come drink a little wine with me. I have here a wine that is exquisite. Cæsar himself sent it me. Dip into it thy little red lips, that I may drain the cup.

Pour me some wine [wine is brought]. Salomé, come share a glass of wine with me. I have some exquisite wine here. Even Cæsar sent it to me. Dip your little red lips into it so I can finish the cup.

SALOMÉ

I am not thirsty, Tetrarch.

I'm not thirsty, Tetrarch.

HEROD

You hear how she answers me, this daughter of yours?

You hear how she responds to me, your daughter?

HERODIAS

She does right. Why are you always gazing at her?

She’s doing the right thing. Why are you always staring at her?

HEROD

Bring me ripe fruits [fruits are brought]. Salomé, come and eat fruit with me. I love to see in a fruit the mark of thy little teeth. Bite but a little of this fruit and then I will eat what is left.

Bring me ripe fruit [fruit is brought]. Salomé, come eat fruit with me. I love to see the impression of your little teeth in the fruit. Just take a small bite of this fruit, and then I'll finish what’s left.

SALOMÉ

I am not hungry, Tetrarch.

I'm not hungry, Tetrarch.

HEROD

Herod

[To Herodias.] You see how you have brought up this daughter of yours.

[To Herodias.] You can see how you've raised this daughter of yours.

HERODIAS

Herodias

My daughter and I come of a royal race. As for thee, thy father was a camel driver! He was also a robber!

My daughter and I come from a royal lineage. As for you, your father was a camel driver! He was also a thief!

HEROD

Thou liest!

You're lying!

HERODIAS

Herodias

Thou knowest well that it is true.

You know it’s true.

HEROD

Salomé, come and sit next to me. I will give thee the throne of thy mother.

Salomé, come and sit next to me. I will give you your mother's throne.

SALOMÉ

I am not tired, Tetrarch.

I'm not tired, Tetrarch.

HERODIAS

Herodias

You see what she thinks of you.

You can see how she feels about you.

HEROD

Bring me—what is it that I desire? I forget. Ah! ah! I remember.

Bring me—what is it that I want? I forget. Ah! ah! I remember.

THE VOICE OF JOKANAAN

Lo! the time is come! That which I foretold has come to pass, saith the Lord God. Lo! the day of which I spoke.

Look! The time has come! What I predicted has happened, says the Lord God. Look! The day I mentioned is here.

HERODIAS

Herodias

Bid him be silent. I will not listen to his voice. This man is for ever vomiting insults against me.

Tell him to shut up. I won’t listen to him. This guy is always throwing insults at me.

HEROD

He has said nothing against you. Besides, he is a very great prophet.

He hasn’t said anything negative about you. Plus, he is a really important prophet.

HERODIAS

Herodias

I do not believe in prophets. Can a man tell what will come to pass? No man knows it. Moreover, he is for ever insulting me. But I think you are afraid of him.... I know well that you are afraid of him.

I don't believe in prophets. Can anyone really predict the future? No one can know that. Besides, he's always insulting me. But I think you’re scared of him.... I know you're definitely scared of him.

HEROD

I am not afraid of him. I am afraid of no man.

I’m not scared of him. I’m not scared of any man.

HERODIAS

Herodias

I tell you, you are afraid of him. If you are not afraid of him why do you not deliver him to the Jews, who for these six months past have been clamouring for him?

I’m telling you, you’re afraid of him. If you’re not afraid of him, then why don’t you hand him over to the Jews, who have been shouting for him for the past six months?

A JEW

A Jewish person

Truly, my lord, it were better to deliver him into our hands.

Honestly, my lord, it would be better to hand him over to us.

HEROD

Enough on this subject. I have already given you my answer. I will not deliver him into your hands. He is a holy man. He is a man who has seen God.

Enough on this topic. I've already given you my answer. I won't hand him over to you. He is a holy man. He is someone who has seen God.

A JEW

A Jewish person

That cannot be. There is no man who hath seen God since the prophet Elias. He is the last man who saw God. In these days God doth not show Himself. He hideth Himself. Therefore great evils have come upon the land.

That can't be. There is no man who has seen God since the prophet Elijah. He is the last one who saw God. These days, God does not reveal Himself. He hides Himself. Because of this, great evils have come upon the land.

ANOTHER JEW

Verily, no man knoweth if Elias the prophet did indeed see God. Peradventure it was but the shadow of God that he saw.

Truly, no one knows if the prophet Elijah actually saw God. Perhaps it was only the shadow of God that he saw.

A THIRD JEW

A third Jewish person

God is at no time hidden. He showeth Himself at all times and in everything. God is in what is evil even as He is in what is good.

God is never hidden. He shows Himself all the time and in everything. God is present in what is evil just as He is in what is good.

A FOURTH JEW

A fourth Jewish person

That must not be said. It is a very dangerous doctrine. It is a doctrine that cometh from the schools at Alexandria, where men teach the philosophy of the Greeks. And the Greeks are Gentiles: They are not even circumcised.

That shouldn't be said. It's a very dangerous belief. It comes from the schools in Alexandria, where they teach Greek philosophy. And the Greeks are non-Jews: They aren't even circumcised.

A FIFTH JEW

A fifth Jew

No one can tell how God worketh. His ways are very mysterious. It may be that the things which we call evil are good, and that the things which we call good are evil. There is no knowledge of any thing. We must needs submit to everything, for God is very strong. He breaketh in pieces the strong together with the weak, for He regardeth not any man.

No one can understand how God works. His ways are very mysterious. It may be that the things we consider evil are actually good, and the things we think of as good are actually evil. We don’t know anything for sure. We have to accept everything, because God is very powerful. He tears apart both the strong and the weak, for He does not favor anyone.

FIRST JEW

Thou speaketh truly. God is terrible; He breaketh the strong and the weak as a man brays corn in a mortar. But this man hath never seen God. No man hath seen God since the prophet Elias.

You speak truly. God is terrifying; He breaks the strong and the weak like a man pounds corn in a mortar. But this man has never seen God. No man has seen God since the prophet Elijah.

HERODIAS

Make them be silent. They weary me.

Make them quiet. They tire me out.

HEROD

But I have heard it said that Jokanaan himself is your prophet Elias.

But I've heard people say that Jokanaan is actually your prophet Elijah.

THE JEW

That cannot be. It is more than three hundred years since the days of the prophet Elias.

That can't be. It's been over three hundred years since the time of the prophet Elijah.

HEROD

There be some who say that this man is the prophet Elias.

There are some who say that this man is the prophet Elijah.

A NAZARENE

A Nazarene

I am sure that he is the prophet Elias.

I’m sure he’s the prophet Elijah.

THE JEW

Nay, but he is not the prophet Elias.

No, he isn't the prophet Elijah.

THE VOICE OF JOKANAAN

So the day is come, the day of the Lord, and I hear upon the mountains the feet of Him who shall be the Saviour of the world.

So the day has come, the day of the Lord, and I hear on the mountains the footsteps of Him who will be the Savior of the world.

HEROD

What does that mean? The Saviour of the world.

What does that mean? The Savior of the world.

TIGELLINUS

Tigellinus

It is a title that Cæsar takes.

It is a title that Caesar takes.

HEROD

But Cæsar is not coming into Judæa. Only yesterday I received letters from Rome. They contained nothing concerning this matter. And you, Tigellinus, who were at Rome during the winter, you heard nothing concerning this matter, did you?

But Caesar is not coming to Judea. Just yesterday I got letters from Rome. They didn’t say anything about this issue. And you, Tigellinus, who were in Rome over the winter, you didn’t hear anything about this, did you?

TIGELLINUS

Tigellinus

Sire, I heard nothing concerning the matter. I was explaining the title. It is one of Cæsar's titles.

Sire, I didn't hear anything about that. I was just explaining the title. It's one of Caesar's titles.

HEROD

But Cæsar cannot come. He is too gouty. They say that his feet are like the feet of an elephant. Also there are reasons of State. He who leaves Rome loses Rome. He will not come. Howbeit, Cæsar is lord, he will come if he wishes. Nevertheless, I do not think he will come.

But Caesar can't come. He's dealing with a bad case of gout. They say his feet are as big as an elephant's. Plus, there are political reasons. Anyone who leaves Rome loses influence in Rome. He won't come. Still, Caesar is in charge; he will come if he wants to. However, I don’t think he will show up.

FIRST NAZARENE

It was not concerning Cæsar that the prophet spake these words, sire.

It wasn't about Caesar that the prophet said these words, sir.

HEROD

Not of Cæsar?

Not of Caesar?

FIRST NAZARENE

No, sire.

No, sir.

HEROD

Concerning whom then did he speak?

Who did he talk about?

FIRST NAZARENE

Concerning Messias who has come.

Regarding the Messiah who has come.

A JEW

A Jewish person

Messiah hath not come.

The Messiah has not come.

FIRST NAZARENE

He hath come, and everywhere He worketh miracles.

He has come, and everywhere He performs miracles.

HERODIAS Ho! ho! miracles! I do not believe in miracles. I have seen too many. [To the page.] My fan!

HERODIAS Hey! Wow! Miracles! I don't believe in miracles. I've seen too many. [To the page.] My fan!

FIRST NAZARENE

This man worketh true miracles. Thus, at a marriage which took place in a little town of Galilee, a town of some importance, He changed water into wine. Certain persons who were present related it to me. Also He healed two lepers that were seated before the Gate of Capernaum simply by touching them.

This man performs real miracles. At a wedding in a small town in Galilee, which was somewhat significant, He turned water into wine. Some people who were there told me about it. He also healed two lepers sitting by the Gate of Capernaum just by touching them.

SECOND NAZARENE

Nay, it was blind men that he healed at Capernaum.

No, it was blind men that he healed in Capernaum.

FIRST NAZARENE

Nay; they were lepers. But He hath healed blind people also, and He was seen on a mountain talking with angels.

No; they had leprosy. But He has healed blind people too, and He was seen on a mountain talking with angels.

A SADDUCEE

A Sadducee

Angels do not exist.

Angels don't exist.

A PHARISEE

A Pharisee

Angels exist, but I do not believe that this Man has talked with them.

Angels exist, but I don't believe this guy has talked to them.

FIRST NAZARENE

He was seen by a great multitude of people talking with angels.

He was seen by a large crowd of people talking to angels.

A SADDUCEE

A Sadducee

Not with angels.

HERODIAS

How these men weary me! They are ridiculous! [To the page.] Well! my fan! [The page gives her the fan.] You have a dreamer's look; you must not dream. It is only sick people who dream. [She strikes the page with her fan.]

How these guys tire me out! They're so silly! [To the page.] Alright! My fan! [The page hands her the fan.] You've got a dreamy look; you shouldn't be dreaming. Only sick people dream. [She hits the page with her fan.]

SECOND NAZARENE

There is also the miracle of the daughter of Jairus.

There’s also the miracle of Jairus's daughter.

FIRST NAZARENE

Yes, that is sure. No man can gainsay it.

Yes, that's for sure. No one can deny it.

HERODIAS

Herodias

These men are mad. They have looked too long on the moon. Command them to be silent.

These guys are crazy. They've stared at the moon for too long. Tell them to be quiet.

HEROD

What is this miracle of the daughter of Jairus?

What is this miracle of Jairus' daughter?

FIRST NAZARENE

The daughter of Jairus was dead. He raised her from the dead.

The daughter of Jairus had died. He brought her back to life.

HEROD

He raises the dead?

He brings the dead back?

FIRST NAZARENE

Yea, sire, He raiseth the dead.

Yeah, sir, He raises the dead.

HEROD

I do not wish Him to do that. I forbid Him to do that. I allow no man to raise the dead. This Man must be found and told that I forbid Him to raise the dead. Where is this Man at present?

I don’t want Him to do that. I forbid Him to do that. I don’t let anyone raise the dead. This Man needs to be found and told that I forbid Him to raise the dead. Where is this Man right now?

SECOND NAZARENE

He is in every place, my lord, but it is hard to find Him.

He is everywhere, my lord, but it's hard to find Him.

FIRST NAZARENE

It is said that He is now in Samaria.

A JEW

A Jewish person

It is easy to see that this is not Messias, if He is in Samaria. It is not to the Samaritans that Messias shall come. The Samaritans are accursed. They bring no offerings to the Temple.

It’s clear that this isn’t the Messiah if He’s in Samaria. The Messiah isn’t meant for the Samaritans. The Samaritans are considered cursed. They don’t bring any offerings to the Temple.

SECOND NAZARENE

He left Samaria a few days since. I think that at the present moment He is in the neighbourhood of Jerusalem.

He left Samaria a few days ago. I think that right now He is near Jerusalem.

FIRST NAZARENE

No; He is not there. I have just come from Jerusalem. For two months they have had no tidings of Him.

No, He isn't there. I just came from Jerusalem. They haven't had any news of Him for two months.

HEROD

No matter! But let them find Him, and tell Him from me, I will not allow him to raise the dead! To change water into wine, to heal the lepers and the blind.... He may do these things if He will. I say nothing against these things. In truth I hold it a good deed to heal a leper. But I allow no man to raise the dead. It would be terrible if the dead came back.

No matter! But let them find Him and tell Him from me, I won't let Him raise the dead! He can change water into wine, heal lepers, and the blind.... He can do those things if He wants. I don’t have an issue with them. Honestly, I think healing a leper is a good thing. But I won't allow anyone to raise the dead. It would be awful if the dead came back.

THE VOICE OF JOKANAAN

THE VOICE OF JOHN

Ah! the wanton! The harlot! Ah! the daughter of Babylon with her golden eyes and her gilded eyelids!—Thus saith the Lord God, Let there come up against her a multitude of men. Let the people take stones and stone her....

Ah! the wanton! The harlot! Ah! the daughter of Babylon with her golden eyes and her gilded eyelids!—Thus says the Lord God, Let a multitude of men rise up against her. Let the people take stones and stone her....

HERODIAS

Herodias

Command him to be silent.

Tell him to be quiet.

THE VOICE OF JOKANAAN

Let the war captains pierce her with their swords, let them crush her beneath their shields.

Let the warriors stab her with their swords, let them smash her under their shields.

HERODIAS

Nay, but it is infamous.

No, it's infamous.

THE VOICE OF JOKANAAN

It is thus that I will wipe out all wickedness from the earth, and that all women shall learn not to imitate her abominations.

It’s for this reason that I will eliminate all evil from the earth, and that all women will learn not to copy her horrors.

HERODIAS

Herodias

You hear what he says against me? You allow him to revile your wife?

Do you hear what he’s saying about me? You let him insult your wife?

HEROD

He did not speak your name.

He didn’t mention your name.

HERODIAS

What does that matter? You know well that it is I whom he seeks to revile. And I am your wife, am I not?

What does that matter? You know that I'm the one he wants to insult. And I'm your wife, right?

HEROD

Of a truth, dear and noble Herodias, you are my wife, and before that you were the wife of my brother.

Of course, dear and noble Herodias, you are my wife, and before that, you were my brother's wife.

HERODIAS

It was you who tore me from his arms.

It was you who pulled me away from him.

HEROD

Of a truth I was stronger.... But let us not talk of that matter. I do not desire to talk of it. It is the cause of the terrible words that the prophet has spoken. Peradventure on account of it a misfortune will come. Let us not speak of this matter. Noble Herodias, we are not mindful of our guests. Fill thou my cup, my well-beloved. Fill with wine the great goblets of silver, and the great goblets of glass. I will drink to Cæsar. There are Romans here, we must drink to Cæsar.

Honestly, I was stronger... But let's not get into that. I really don't want to talk about it. It's the reason for the terrible things the prophet has said. Maybe because of it, something bad will happen. Let's just drop this topic. Noble Herodias, we’re neglecting our guests. Please, fill my cup, my dear. Fill the large silver goblets and the big glass goblets with wine. I will drink to Caesar. There are Romans here, so we must drink to Caesar.

ALL

Cæsar! Cæsar!

Cesar! Cesar!

HEROD

Do you not see your daughter, how pale she is?

Do you not see your daughter, how pale she looks?

HERODIAS

Herodias

What is it to you if she be pale or not?

What does it matter to you if she is pale or not?

HEROD

Never have I seen her so pale.

Never have I seen her look so pale.

HERODIAS

Herodias

You must not look at her.

Don't look at her.

THE VOICE OF JOKANAAN

In that day the sun shall become black like sackcloth of hair, and the moon shall become like blood, and the stars of the heavens shall fall upon the earth like ripe figs that fall from the fig-tree, and the kings of the earth shall be afraid.

On that day, the sun will turn as dark as rough black fabric, and the moon will look like blood, and the stars in the sky will fall to the earth like ripe figs dropping from the fig tree, and the rulers of the earth will be terrified.

HERODIAS

Ah! Ah! I should like to see that day of which he speaks, when the moon shall become like blood, and when the stars shall fall upon the earth like ripe figs. This prophet talks like a drunken man ... but I cannot suffer the sound of his voice. I hate his voice. Command him to be silent.

Ah! Ah! I can't wait to see that day he's talking about, when the moon turns red like blood and the stars fall to the ground like ripe figs. This prophet sounds like he's drunk... but I can't stand the sound of his voice. I hate his voice. Make him be quiet.

HEROD

I will not. I cannot understand what it is that he saith, but it may be an omen.

I won't. I can't figure out what he's saying, but it might be a sign.

HERODIAS

I do not believe in omens. He speaks like a drunken man.

I don’t believe in signs. He talks like someone who's had too much to drink.

HEROD

It may be he is drunk with the wine of God.

He might be intoxicated by the spirit of God.

HERODIAS

What wine is that, the wine of God? From what vineyards is it gathered? In what wine-press may one find it?

What wine is that, the wine of God? From which vineyards is it sourced? In what wine-press can one find it?

HEROD

[From this point he looks all the while at Salomé.]

From this point, he keeps looking at Salomé.

Tigellinus, when you were at Rome of late, did the Emperor speak with you on the subject of...?

Tigellinus, when you were in Rome recently, did the Emperor talk to you about...?

TIGELLINUS

Tigellinus

On what subject, sire?

What topic, sir?

HEROD

On what subject? Ah! I asked you a question, did I not? I have forgotten what I would have asked you.

On what topic? Ah! I asked you a question, didn't I? I’ve forgotten what I meant to ask you.

HERODIAS

Herodias

You are looking again at my daughter. You must not look at her. I have already said so.

You’re looking at my daughter again. You shouldn’t be looking at her. I’ve already told you that.

HEROD

You say nothing else.

You don't say anything else.

HERODIAS

I say it again.

I’ll say it again.

HEROD

And that restoration of the Temple about which they have talked so much, will anything be done? They say the veil of the Sanctuary has disappeared, do they not?

And about the restoration of the Temple that they've talked about so much, will anything happen? They say the veil of the Sanctuary has vanished, right?

HERODIAS

It was thyself didst steal it. Thou speakest at random. I will not stay here. Let us go within.

It was you who stole it. You're just talking nonsense. I'm not staying here. Let's go inside.

HEROD

Dance for me, Salomé.

HERODIAS

I will not have her dance.

I won’t let her dance.

SALOMÉ

I have no desire to dance, Tetrarch.

I don't want to dance, Tetrarch.

HEROD

Salomé, daughter of Herodias, dance for me.

HERODIAS

Herodias

Let her alone.

Leave her alone.

HEROD

I command thee to dance, Salomé.

I order you to dance, Salomé.

SALOMÉ

I will not dance, Tetrarch.

I won't dance, Tetrarch.

HERODIAS

[Laughing].

[Laughing].

You see how she obeys you.

You can see how she listens to you.

HEROD

What is it to me whether she dance or not? It is naught to me. To-night I am happy, I am exceeding happy. Never have I been so happy.

What does it matter to me if she dances or not? It’s nothing to me. Tonight I am happy, I am really happy. Never have I been this happy.

FIRST SOLDIER

The Tetrarch has a sombre look. Has he not a sombre look?

The Tetrarch looks serious. Doesn’t he look serious?

SECOND SOLDIER

Yes, he has a sombre look.

Yes, he has a serious look.

HEROD

Wherefore should I not be happy? Cæsar, who is lord of the world, who is lord of all things, loves me well. He has just sent me most precious gifts. Also he has promised me to summon to Rome the King of Cappadocia, who is my enemy. It may be that at Rome he will crucify him, for he is able to do all things that he wishes. Verily, Cæsar is lord. Thus you see I have a right to be happy. Indeed, I am happy. I have never been so happy. There is nothing in the world that can mar my happiness.

Why shouldn’t I be happy? Caesar, who is the ruler of the world and everything in it, cares for me. He just sent me some incredible gifts. He also promised to bring the King of Cappadocia, my enemy, to Rome. It’s possible that he’ll have him crucified there since he can do whatever he wants. Truly, Caesar is in charge. So you see, I have a reason to be happy. In fact, I am happy. I’ve never been this happy before. Nothing in the world can spoil my happiness.

THE VOICE OF JOKANAAN

He shall be seated on this throne. He shall be clothed in scarlet and purple. In his hand he shall bear a golden cup full of his blasphemies. And the angel of the Lord shall smite him. He shall be eaten of worms.

He will sit on this throne. He will be dressed in scarlet and purple. In his hand, he will hold a golden cup filled with his blasphemies. And the angel of the Lord will strike him down. He will be consumed by worms.

HERODIAS

Herodias

You hear what he says about you. He says that you will be eaten of worms.

You hear what he says about you. He says that you will be eaten by worms.

HEROD

It is not of me that he speaks. He speaks never against me. It is of the King of Cappadocia that he speaks; the King of Cappadocia, who is mine enemy. It is he who shall be eaten of worms. It is not I. Never has he spoken word against me, this prophet, save that I sinned in taking to wife the wife of my brother. It may be he is right. For, of a truth, you are sterile.

It’s not me he talks about. He never speaks against me. He talks about the King of Cappadocia; the King of Cappadocia, who is my enemy. He is the one who will be eaten by worms. It’s not me. This prophet has never said anything against me, except that I sinned by marrying my brother’s wife. Maybe he’s right. Because, truthfully, you are barren.

HERODIAS

I am sterile, I? You say that, you that are ever looking at my daughter, you that would have her dance for your pleasure? It is absurd to say that. I have borne a child. You have gotten no child, no, not even from one of your slaves. It is you who are sterile, not I.

I’m sterile, am I? You, the one always watching my daughter, you who wants her to dance for your enjoyment? That’s ridiculous. I’ve had a child. You haven’t produced a single child, not even from one of your slaves. It’s you who are sterile, not me.

HEROD

Peace, woman! I say that you are sterile. You have borne me no child, and the prophet says that our marriage is not a true marriage. He says that it is an incestuous marriage, a marriage that will bring evils.... I fear he is right; I am sure that he is right. But it is not the moment to speak of such things. I would be happy at this moment. Of a truth, I am happy. There is nothing I lack.

Peace, woman! I tell you that you can't have kids. You haven't given me any children, and the prophet says our marriage isn't legitimate. He claims it's an incestuous marriage, one that will bring trouble.... I'm afraid he’s right; I know he is right. But this isn't the time to talk about that. I want to be happy right now. Honestly, I am happy. There’s nothing I lack.

HERODIAS

I am glad you are of so fair a humour to-night. It is not your custom. But it is late. Let us go within. Do not forget that we hunt at sunrise. All honours must be shown to Cæsar's ambassadors, must they not?

I'm glad you're in such a good mood tonight. That's not usually like you. But it's getting late. Let's head inside. Don't forget we have to hunt at sunrise. We need to show all due respect to Caesar's ambassadors, right?

SECOND SOLDIER

What a sombre look the Tetrarch wears.

What a grim expression the Tetrarch has.

FIRST SOLDIER

Yes, he wears a sombre look.

Yes, he has a serious expression.

HEROD

Salomé, Salomé, dance for me. I pray thee dance for me. I am sad to-night. Yes; I am passing sad to-night. When I came hither I slipped in blood, which is an evil omen; and I heard, I am sure I heard in the air a beating of wings, a beating of giant wings. I cannot tell what they mean ... I am sad to-night. Therefore dance for me. Dance for me, Salomé, I beseech you. If you dance for me you may ask of me what you will, and I will give it you, even unto the half of my kingdom.

Salomé, Salomé, dance for me. Please, dance for me. I'm feeling really down tonight. Yes, I’m really sad tonight. When I arrived here, I stepped in blood, which is a bad sign; and I heard, I know I heard in the air a flapping of wings, the flapping of giant wings. I can’t figure out what they mean... I’m sad tonight. So, dance for me. Dance for me, Salomé, I’m begging you. If you dance for me, you can ask me for whatever you want, and I’ll give it to you, even up to half of my kingdom.

SALOMÉ

[Rising.] Will you indeed give me whatsoever I shall ask, Tetrarch?

[Rising.] Will you really give me anything I ask for, Tetrarch?

HERODIAS

Do not dance, my daughter.

Don't dance, my daughter.

HEROD

Everything, even the half of my kingdom.

Everything, even half of my kingdom.

SALOMÉ

You swear it, Tetrarch?

You promise it, Tetrarch?

HEROD

I swear it, Salomé.

HERODIAS

Do not dance, my daughter.

Don't dance, my daughter.

SALOMÉ

By what will you swear, Tetrarch?

HEROD

By my life, by my crown, by my gods. Whatsoever you desire I will give it you, even to the half of my kingdom, if you will but dance for me. O, Salomé, Salomé, dance for me!

By my life, by my crown, by my gods. Whatever you want, I will give you, even half of my kingdom, if you’ll just dance for me. Oh, Salomé, Salomé, dance for me!

SALOMÉ

You have sworn, Tetrarch.

You swore, Tetrarch.

HEROD

I have sworn, Salomé.

I've sworn, Salomé.

SALOMÉ

All this I ask, even the half of your kingdom.

All I ask for is half of your kingdom.

HERODIAS

Herodias

My daughter, do not dance.

Don't dance, my daughter.

HEROD

Even to the half of my kingdom. Thou wilt be passing fair as a queen, Salomé, if it please thee to ask for the half of my kingdom. Will she not be fair as a queen? Ah! it is cold here! There is an icy wind, and I hear ... wherefore do I hear in the air this beating of wings? Ah! one might fancy a bird, a huge black bird that hovers over the terrace. Why can I not see it, this bird? The beat of its wings is terrible. The breath of the wind of its wings is terrible. It is a chill wind. Nay, but it is not cold, it is hot. I am choking. Pour water on my hands. Give me snow to eat. Loosen my mantle. Quick! quick! loosen my mantle. Nay, but leave it. It is my garland that hurts me, my garland of roses. The flowers are like fire. They have burned my forehead. [He tears the wreath from his head and throws it on the table.] Ah! I can breathe now. How red those petals are! They are like stains of blood on the cloth. That does not matter. You must not find symbols in everything you see. It makes life impossible. It were better to say that stains of blood are as lovely as rose petals. It were better far to say that.... But we will not speak of this. Now I am happy, I am passing happy. Have I not the right to be happy? Your daughter is going to dance for me. Will you not dance for me, Salomé? You have promised to dance for me.

Even to half of my kingdom. You will be incredibly beautiful as a queen, Salomé, if you choose to ask for half of my kingdom. Won't she look like a queen? Ah! It’s cold here! There’s a chill in the air, and I hear... why do I hear this flapping in the air? Ah! One might imagine a bird, a huge black bird hovering over the terrace. Why can’t I see it, this bird? The sound of its wings is terrifying. The rush of its wings feels horrific. It’s a freezing wind. No, it’s not cold; it’s hot. I’m suffocating. Pour water on my hands. Give me ice to eat. Loosen my cloak. Hurry! Hurry! loosen my cloak. No, leave it. It’s my garland that’s bothering me, my garland of roses. The flowers feel like fire. They have burned my forehead. [He tears the wreath from his head and throws it on the table.] Ah! I can breathe now. How red those petals are! They look like bloodstains on the cloth. That doesn’t matter. You shouldn’t read too much into everything you see. It makes life unbearable. It’s better to say that bloodstains are as beautiful as rose petals. Much better to say that…. But let’s not talk about this. Now I’m happy; I’m really happy. Do I not have the right to be happy? Your daughter is going to dance for me. Will you not dance for me, Salomé? You promised to dance for me.

THE TOILETTE OF SALOMÉ—II

SALOMÉ'S BATHROOM—II

HERODIAS

Herodias

I will not have her dance.

I'm not letting her dance.

SALOMÉ

I will dance for you, Tetrarch.

HEROD

You hear what your daughter says. She is going to dance for me. You do well to dance for me, Salomé. And when you have danced for me, forget not to ask of me whatsoever you wish. Whatsoever you wish I will give it you, even to the half of my kingdom. I have sworn it, have I not?

You hear what your daughter says. She’s going to dance for me. You’re doing great to dance for me, Salomé. And when you’ve danced for me, don’t forget to ask me for anything you want. Anything you want, I’ll give you, even half of my kingdom. I’ve promised it, haven’t I?

SALOMÉ

You have sworn it, Tetrarch.

You’ve sworn it, Tetrarch.

HEROD

And I have never broken my word. I am not of those who break their oaths. I know not how to lie. I am the slave of my word, and my word is the word of a king. The King of Cappadocia always lies, but he is no true king. He is a coward. Also he owes me money that he will not repay. He has even insulted my ambassadors. He has spoken words that were wounding. But Cæsar will crucify him when he comes to Rome. I am sure that Cæsar will crucify him. And if not, yet will he die, being eaten of worms. The prophet has prophesied it. Well! wherefore dost thou tarry, Salomé?

And I've never gone back on my word. I'm not someone who breaks promises. I don’t know how to lie. I’m bound by my word, and my word carries the weight of a king. The King of Cappadocia always lies, but he isn’t a true king. He’s a coward. Plus, he owes me money and refuses to pay it back. He’s even insulted my ambassadors. He’s said some hurtful things. But Cæsar will have him crucified when he gets to Rome. I’m sure Cæsar will crucify him. And if not, he will die, being eaten by worms. The prophet has foretold it. So why are you still waiting, Salomé?

SALOMÉ

I am awaiting until my slaves bring perfumes to me and the seven veils, and take off my sandals. [Slaves bring perfumes and the seven veils, and take off the sandals of Salomé.]

I’m waiting for my servants to bring me the perfumes and the seven veils, and to take off my sandals. [Servants bring perfumes and the seven veils, and take off the sandals of Salomé.]

HEROD

Ah, you are going to dance with naked feet. 'Tis well!—'Tis well. Your little feet will be like white doves. They will be like little white flowers that dance upon the trees.... No, no, she is going to dance on blood. There is blood spilt on the ground. She must not dance on blood. It were an evil omen.

Ah, you’re going to dance barefoot. That’s great! Your tiny feet will look like white doves. They'll be like little white flowers dancing in the trees... No, no, she’s going to dance on blood. There’s blood spilled on the ground. She shouldn’t dance on blood. It would be a bad omen.

HERODIAS

Herodias

What is it to you if she dance on blood? Thou hast waded deep enough therein....

What does it matter to you if she dances on blood? You've already gotten deep enough into it....

HEROD

What is it to me? Ah! look at the moon! She has become red. She has become red as blood. Ah! the prophet prophesied truly. He prophesied that the moon would become red as blood. Did he not prophesy it? All of you heard him. And now the moon has become red as blood. Do ye not see it?

What does it mean to me? Ah! look at the moon! It's turned red. It's red like blood. Ah! the prophet was right. He predicted that the moon would turn red like blood. Didn’t he predict it? All of you heard him. And now the moon is red like blood. Don’t you see it?

HERODIAS

Herodias

Oh, yes, I see it well, and the stars are falling like ripe figs, are they not? and the sun is becoming black like sackcloth of hair, and the kings of the earth are afraid. That at least one can see. The prophet, for once in his life, was right, the kings of the earth are afraid.... Let us go within. You are sick. They will say at Rome that you are mad. Let us go within, I tell you.

Oh, yes, I see it clearly, and the stars are dropping like ripe figs, right? and the sun is turning black like coarse cloth, and the kings of the earth are scared. That's something we can definitely see. For once, the prophet was right; the kings of the earth are scared.... Let’s go inside. You’re not well. They'll say in Rome that you’re crazy. Let’s go inside, I’m telling you.

THE VOICE OF JOKANAAN

Who is this who cometh from Edom, who is this who cometh from Bozra, whose raiment is dyed with purple, who shineth in the beauty of his garments, who walketh mighty in his greatness? Wherefore is thy raiment stained with scarlet?

Who is this coming from Edom, who is this coming from Bozra, whose clothes are dyed purple, shining in the beauty of his garments, who walks with strength in his greatness? Why is your clothing stained with scarlet?

HERODIAS

Herodias

Let us go within. The voice of that man maddens me. I will not have my daughter dance while he is continually crying out. I will not have her dance while you look at her in this fashion. In a word, I will not have her dance.

Let’s step inside. That man's voice drives me crazy. I won't let my daughter dance while he's constantly shouting. I won't let her dance while you’re looking at her like that. In short, I won’t allow her to dance.

HEROD

Do not rise, my wife, my queen, it will avail thee nothing. I will not go within till she hath danced. Dance, Salomé, dance for me.

Do not get up, my wife, my queen, it won’t help you. I won’t go inside until she has danced. Dance, Salomé, dance for me.

HERODIAS

Do not dance, my daughter.

Don't dance, my daughter.

SALOMÉ

I am ready, Tetrarch.

I'm ready, Tetrarch.

[Salomé dances the dance of the seven veils.]

[i]Salomé dances the dance of the seven veils.[/i]

HEROD

Ah! wonderful! wonderful! You see that she has danced for me, your daughter. Come near, Salomé, come near, that I may give you your reward. Ah! I pay the dancers well. I will pay thee royally. I will give thee whatsoever thy soul desireth. What wouldst thou have? Speak.

Ah! Amazing! Amazing! You see that she has danced for me, your daughter. Come closer, Salomé, come closer, so I can give you your reward. Ah! I pay the dancers generously. I will pay you handsomely. I will give you whatever your heart desires. What do you want? Speak.

SALOMÉ

[Kneeling].

[Kneeling].

I would that they presently bring me in a silver charger....

I want them to bring me a silver platter right away...

HEROD

[Laughing.]

In a silver charger? Surely yes, in a silver charger. She is charming, is she not? What is it you would have in a silver charger, O sweet and fair Salomé, you who are fairer than all the daughters of Judæa? What would you have them bring thee in a silver charger? Tell me. Whatsoever it may be, they shall give it you. My treasures belong to thee. What is it, Salomé?

In a silver platter? Absolutely, in a silver platter. She's enchanting, isn't she? What is it you want on a silver platter, oh sweet and beautiful Salomé, you who are more lovely than all the daughters of Judea? What do you want them to bring you on a silver platter? Tell me. Whatever it is, they will give it to you. My treasures are yours. What is it, Salomé?

SALOMÉ

[Rising].

[Growing].

The head of Jokanaan.

The head of John the Baptist.

HERODIAS

Herodias

Ah! that is well said, my daughter.

HEROD

No, no!

No way!

HERODIAS

That is well said, my daughter.

Well said, my daughter.

HEROD

No, no, Salomé. You do not ask me that. Do not listen to your mother's voice. She is ever giving you evil counsel. Do not heed her.

No, no, Salomé. Don’t ask me that. Don’t listen to your mother's voice. She always gives you bad advice. Ignore her.

SALOMÉ

I do not heed my mother. It is for mine own pleasure that I ask the head of Jokanaan in a silver charger. You hath sworn, Herod. Forget not that you have sworn an oath.

I don't listen to my mother. I ask for the head of John the Baptist on a silver platter for my own enjoyment. You swore an oath, Herod. Don't forget that you made a promise.

HEROD

I know it. I have sworn by my gods. I know it well. But I pray you, Salomé, ask of me something else. Ask of me the half of my kingdom, and I will give it you. But ask not of me what you have asked.

I know it. I've sworn by my gods. I know it well. But I beg you, Salomé, ask me for something else. Ask me for half of my kingdom, and I'll give it to you. But please don't ask me for what you have asked.

SALOMÉ

I ask of you the head of Jokanaan.

I ask you for the head of John the Baptist.

HEROD

No, no, I do not wish it.

No, no, I don't want that.

SALOMÉ

You have sworn, Herod.

You have made a vow, Herod.

HERODIAS

Herodias

Yes, you have sworn. Everybody heard you. You swore it before everybody.

Yes, you’ve sworn. Everyone heard you. You said it in front of everyone.

HEROD

Be silent! It is not to you I speak.

Be quiet! I'm not talking to you.

HERODIAS

My daughter has done well to ask the head of Jokanaan. He has covered me with insults. He has said monstrous things against me. One can see that she loves her mother well. Do not yield, my daughter. He has sworn, he has sworn.

My daughter did well to ask about Jokanaan. He has insulted me repeatedly. He has said terrible things about me. It's clear that she cares deeply for her mother. Don't give in, my daughter. He has sworn it, he has sworn it.

HEROD

Be silent, speak not to me!... Come, Salomé, be reasonable. I have never been hard to you. I have ever loved you.... It may be that I have loved you too much. Therefore ask not this thing of me. This is a terrible thing, an awful thing to ask of me. Surely, I think thou art jesting. The head of a man that is cut from his body is ill to look upon, is it not? It is not meet that the eyes of a virgin should look upon such a thing. What pleasure could you have in it? None. No, no, it is not what you desire. Hearken to me. I have an emerald, a great round emerald, which Cæsar's minion sent me. If you look through this emerald you can see things which happen at a great distance. Cæsar himself carries such an emerald when he goes to the circus. But my emerald is larger. I know well that it is larger. It is the largest emerald in the whole world. You would like that, would you not? Ask it of me and I will give it you.

Be quiet, don’t talk to me!... Come on, Salomé, be reasonable. I’ve never been harsh with you. I’ve always loved you.... Maybe I’ve loved you too much. So don’t ask me for this. This is a terrible thing to ask for, an awful thing. Surely, you must be joking. The head of a man severed from his body is disturbing to see, isn’t it? It’s not right for a virgin’s eyes to look upon such a thing. What pleasure could you possibly find in it? None. No, it’s not what you really want. Listen to me. I have an emerald, a huge round emerald that Cæsar’s servant sent me. If you look through this emerald, you can see things happening from far away. Cæsar himself carries an emerald like this when he goes to the circus. But mine is bigger. I know it’s bigger. It’s the largest emerald in the entire world. You would like that, wouldn’t you? Ask me for it, and I'll give it to you.

SALOMÉ

I demand the head of Jokanaan.

I want the head of Jokanaan.

HEROD

You are not listening. You are not listening. Suffer me to speak, Salomé.

You’re not listening. You’re not listening. Let me speak, Salomé.

SALOMÉ

The head of Jokanaan.

The head of John the Baptist.

HEROD

No, no, you would not have that. You say that to trouble me, because I have looked at you all this evening. It is true, I have looked at you all this evening. Your beauty troubled me. Your beauty has grievously troubled me, and I have looked at you too much. But I will look at you no more. Neither at things, nor at people should one look. Only in mirrors should one look, for mirrors do but show us masks. Oh! oh! bring wine! I thirst.... Salomé, Salomé, let us be friends. Come now!... Ah! what would I say? What was't? Ah! I remember!... Salomé—nay, but come nearer to me; I fear you will not hear me—Salomé, you know my white peacocks, my beautiful white peacocks, that walk in the garden between the myrtles and the tall cypress trees. Their beaks are gilded with gold, and the grains that they eat are gilded with gold also, and their feet are stained with purple. When they cry out the rain comes, and the moon shows herself in the heavens when they spread their tails. Two by two they walk between the cypress trees and the black myrtles, and each has a slave to tend it. Sometimes they fly across the trees, and anon they crouch in the grass, and round the lake. There are not in all the world birds so wonderful. There is no king in all the world who possesses such wonderful birds. I am sure that Cæsar himself has no birds so fair as my birds. I will give you fifty of my peacocks. They will follow you whithersoever you go, and in the midst of them you will be like the moon in the midst of a great white cloud.... I will give them all to you. I have but a hundred, and in the whole world there is no king who has peacocks like unto my peacocks. But I will give them all to you. Only you must loose me from my oath, and must not ask of me that which you have asked of me.

No, no, you can’t have that. You say it to annoy me because I’ve been looking at you all evening. It’s true, I’ve been looking at you all evening. Your beauty has disturbed me. Your beauty has deeply troubled me, and I’ve stared at you too much. But I won’t look at you anymore. One shouldn’t look at things or people. We should only look in mirrors because mirrors only show us our masks. Oh! oh! bring wine! I’m thirsty... Salomé, Salomé, let’s be friends. Come on!... Ah! what was I going to say? What was it? Ah! I remember!... Salomé—no, come closer to me; I’m afraid you won’t hear me—Salomé, you know my white peacocks, my beautiful white peacocks that wander in the garden between the myrtles and the tall cypress trees. Their beaks are gilded with gold, the grains they eat are also gilded with gold, and their feet are stained with purple. When they cry out, the rain comes, and the moon appears in the sky when they spread their tails. They walk two by two between the cypress trees and the black myrtles, and each has a servant to tend to it. Sometimes they fly over the trees, and then they crouch in the grass around the lake. There aren’t any birds in the world as magnificent as these. No king in the world has birds as wonderful as mine. I’m sure even Caesar doesn’t have birds as beautiful as my peacocks. I will give you fifty of my peacocks. They will follow you wherever you go, and among them, you’ll be like the moon surrounded by a big white cloud... I will give them all to you. I have only a hundred, and no king in the world has peacocks like mine. But I will give all of them to you. Just free me from my oath and don’t ask me for what you’ve asked before.

[He empties the cup of wine.]

He finishes the glass of wine.

SALOMÉ

Give me the head of Jokanaan.

Give me the head of John the Baptist.

HERODIAS

Herodias

Well said, my daughter! As for you, you are ridiculous with your peacocks.

Well said, my daughter! And you, you look silly with your peacocks.

HEROD

Be silent! You cry out always; you cry out like a beast of prey. You must not. Your voice wearies me. Be silent, I say Salomé, think of what you are doing. This man comes perchance from God. He is a holy man. The finger of God has touched him. God has put into his mouth terrible words. In the palace as in the desert God is always with him.... At least it is possible. One does not know. It is possible that God is for him and with him. Furthermore, if he died some misfortune might happen to me. In any case, he said that the day he dies a misfortune will happen to some one. That could only be to me. Remember, I slipped in blood when I entered. Also, I heard a beating of wings in the air, a beating of mighty wings. These are very evil omens, and there were others. I am sure there were others though I did not see them. Well, Salomé, you do not wish a misfortune to happen to me? You do not wish that. Listen to me, then.

Be quiet! You always shout; you scream like a wild animal. You shouldn't. Your voice tires me. Be quiet, Salomé, think about what you're doing. This man might be from God. He’s a holy man. God has touched him. God has given him powerful words. God is always with him, whether in the palace or in the desert... At least it's possible. We don’t know. It’s possible that God supports him and is with him. Besides, if he dies, something bad might happen to me. He said that the day he dies, a misfortune will fall upon someone. It could only be me. Remember, I slipped in blood when I came in. Also, I heard wings beating in the air, the sound of powerful wings. These are very bad omens, and there were others. I’m sure there were more, even if I didn’t see them. Well, Salomé, you don’t want anything bad to happen to me, do you? You wouldn’t want that. So listen to me.

SALOMÉ

Salomé

Give me the head of Jokanaan.

Give me the head of John the Baptist.

HEROD

Ah! you are not listening to me. Be calm. I—I am calm. I am quite calm. Listen. I have jewels hidden in this place—jewels that your mother even has never seen; jewels that are marvellous. I have a collar of pearls, set in four rows. They are like unto moons chained with rays of silver. They are like fifty moons caught in a golden net. On the ivory of her breast a queen has worn it. Thou shalt be as fair as a queen when thou wearest it. I have amethysts of two kinds, one that is black like wine, and one that is red like wine which has been coloured with water. I have topazes, yellow as are the eyes of tigers, and topazes that are pink as the eyes of a wood-pigeon, and green topazes that are as the eyes of cats. I have opals that burn always, with an icelike flame, opals that make sad men's minds, and are fearful of the shadows. I have onyxes like the eyeballs of a dead woman. I have moonstones that change when the moon changes, and are wan when they see the sun. I have sapphires big like eggs, and as blue as blue flowers. The sea wanders within them and the moon comes never to trouble the blue of their waves. I have chrysolites and beryls and chrysoprases and rubies. I have sardonyx and hyacinth stones, and stones of chalcedony, and I will give them all to you, all, and other things will I add to them. The King of the Indies has but even now sent me four fans fashioned from the feathers of parrots, and the King of Numidia a garment of ostrich feathers. I have a crystal, into which it is not lawful for a woman to look, nor may young men behold it until they have been beaten with rods. In a coffer of nacre I have three wondrous turquoises. He who wears them on his forehead can imagine things which are not, and he who carries them in his hand can make women sterile. These are great treasures above all price. They are treasures without price. But this is not all. In an ebony coffer I have two cups of amber, that are like apples of gold. If an enemy pour poison into these cups, they become like an apple of silver. In a coffer incrusted with amber I have sandals incrusted with glass. I have mantles that have been brought from the land of the Seres, and bracelets decked about with carbuncles and with jade that come from the city of Euphrates.... What desirest thou more than this, Salomé? Tell me the thing that thou desirest, and I will give it thee. All that thou askest I will give thee, save one thing. I will give thee all that is mine, save one life. I will give thee the mantle of the high priest. I will give thee the veil of the sanctuary.

Ah! You're not listening to me. Stay calm. I—I am calm. I am completely calm. Listen. I have jewels hidden here—jewels that even your mother has never seen; jewels that are amazing. I have a pearl necklace with four rows. They look like moons wrapped in silver rays. They are like fifty moons caught in a golden net. A queen has worn it on the ivory of her chest. You will be as beautiful as a queen when you wear it. I have amethysts of two types, one that is black like wine and one that is red like wine with a splash of water. I have topazes, yellow like a tiger’s eyes, pink topazes like a wood-pigeon’s eyes, and green topazes like a cat’s eyes. I have opals that always burn with an icy flame, opals that make sad men think, and that are afraid of the shadows. I have onyxes like the eyes of a dead woman. I have moonstones that change with the moon and look pale when exposed to the sun. I have sapphires as big as eggs and as blue as blue flowers. The sea swirls within them, and the moon never disturbs the blue of their waves. I have chrysolites and beryls and chrysoprases and rubies. I have sardonyx and hyacinth stones, and chalcedony stones, and I will give them all to you, everything, and I will add other things too. The King of the Indies just sent me four fans made from parrot feathers, and the King of Numidia sent me an outfit of ostrich feathers. I have a crystal that no woman is allowed to look into, nor can young men gaze upon it until they have been whipped. In a mother-of-pearl box, I have three marvelous turquoises. Whoever wears them on their forehead can imagine things that aren’t real, and whoever holds them in their hand can make women infertile. These are priceless treasures. They are treasures without a price. But that’s not all. In an ebony box, I have two amber cups that look like golden apples. If an enemy pours poison into these cups, they turn into silver apples. In a box inlaid with amber, I have sandals decorated with glass. I have cloaks brought from the land of the Seres, and bracelets decorated with carbuncles and jade from the city of Euphrates.... What do you desire more than this, Salomé? Tell me what you want, and I will give it to you. I will give you everything you ask for, except one thing. I will give you all that is mine, except one life. I will give you the high priest's mantle. I will give you the veil of the sanctuary.

THE JEWS

Oh! oh!

Oh! Oh!

SALOMÉ

Give me the head of Jokanaan.

Give me the head of John the Baptist.

HEROD

[Sinking back in his seat]. Let her be given what she asks! Of a truth she is her mother's child! [The first Soldier approaches. Herodias draws from the hand of the Tetrarch the ring of death and gives it to the Soldier, who straightway bears it to the Executioner. The Executioner looks scared.] Who has taken my ring? There was a ring on my right hand. Who has drunk my wine? There was wine in my cup. It was full of wine. Someone has drunk it! Oh! surely some evil will befall some one. [The Executioner goes down into the cistern.] Ah! Wherefore did I give my oath? Kings ought never to pledge their word. If they keep it not, it is terrible, and if they keep it, it is terrible also.

[i]Sinking back in his seat[/i]. Let her have what she wants! Truly, she is her mother’s daughter! [i]The first Soldier approaches. Herodias takes the ring of death from the Tetrarch's hand and hands it to the Soldier, who immediately takes it to the Executioner. The Executioner looks frightened.[/i] Who took my ring? There was a ring on my right hand. Who drank my wine? There was wine in my cup. It was full of wine. Someone has drunk it! Oh! surely something bad will happen to someone. [i]The Executioner goes down into the cistern.[/i] Ah! Why did I give my oath? Kings should never promise anything. If they don’t keep their word, it’s terrible, and if they do, that’s terrible too.

HERODIAS

Herodias

My daughter has done well.

My daughter has done great.

HEROD

I am sure that some misfortune will happen.

I’m sure something unfortunate will happen.

SALOMÉ

[She leans over the cistern and listens.]

[She leans over the tank and listens.]

There is no sound. I hear nothing. Why does he not cry out, this man? Ah! if any man sought to kill me, I would cry out, I would struggle, I would not suffer.... Strike, strike, Naaman, strike, I tell you.... No, I hear nothing. There is a silence, a terrible silence. Ah! something has fallen upon the ground. I heard something fall. It is the sword of the headsman. He is afraid, this slave. He has let his sword fall. He dare not kill him. He is a coward, this slave! Let soldiers be sent. [She sees the Page of Herodias and addresses him.] Come hither, thou wert the friend of him who is dead, is it not so? Well, I tell thee, there are not dead men enough. Go to the soldiers and bid them go down and bring me the thing I ask, the thing the Tetrarch has promised me, the thing that is mine. [The Page recoils. She turns to the soldiers.] Hither, ye soldiers. Get ye down into this cistern and bring me the head of this man. [The Soldiers recoil.] Tetrarch, Tetrarch, command your soldiers that they bring me the head of Jokanaan.

There’s no sound. I can’t hear anything. Why isn’t this man crying out? Ah! If someone wanted to kill me, I would scream, I would fight back, I wouldn’t just let it happen… Strike, strike, Naaman, strike, I tell you… No, I hear nothing. There’s a silence, a terrible silence. Ah! Something just fell to the ground. I heard something drop. It’s the executioner's sword. He’s afraid, this slave. He’s dropped his sword. He doesn’t dare to kill him. He’s a coward, this slave! We need to send for soldiers. [She sees the Page of Herodias and addresses him.] Come here, you were the friend of the one who’s dead, right? Well, I’m telling you, there aren’t enough dead men. Go to the soldiers and tell them to go down and bring me what I want, what the Tetrarch promised me, what is mine. [The Page recoils. She turns to the soldiers.] Come here, soldiers. Go down into this cistern and bring me the head of this man. [The Soldiers recoil.] Tetrarch, Tetrarch, command your soldiers to bring me the head of Jokanaan.

[A huge black arm, the arm of the Executioner, comes forth from the cistern, bearing on a silver shield the head of Jokanaan. Salomé seizes it. Herod hides his face with his cloak. Herodias smiles and fans herself. The Nazarenes fall on their knees and begin to pray.]

[A massive black arm, belonging to the Executioner, emerges from the cistern, holding a silver shield with the head of Jokanaan. Salomé grabs it. Herod covers his face with his cloak. Herodias smiles and uses a fan. The Nazarenes drop to their knees and start praying.]

Ah! thou wouldst not suffer me to kiss thy mouth, Jokanaan. Well! I will kiss it now. I will bite it with my teeth as one bites a ripe fruit. Yes, I will kiss thy mouth, Jokanaan. I said it; did I not say it? I said it. Ah! I will kiss it now.... But, wherefore dost thou not look at me, Jokanaan? Thine eyes that were so terrible, so full of rage and scorn, are shut now. Wherefore are they shut? Open thine eyes! Lift up thine eyelids, Jokanaan! Wherefore dost thou not look at me? Art thou afraid of me, Jokanaan, that thou wilt not look at me?... And thy tongue, that was like a red snake darting poison, it moves no more, it says nothing now, Jokanaan, that scarlet viper that spat its venom upon me. It is strange, is it not? How is it that the red viper stirs no longer?... Thou wouldst have none of me, Jokanaan. Thou didst reject me. Thou didst speak evil words against me. Thou didst treat me as a harlot, as a wanton, me, Salomé, daughter of Herodias, Princess of Judæa! Well, Jokanaan, I still live, but thou, thou art dead, and thy head belongs to me. I can do with it what I will. I can throw it to the dogs and to the birds of the air. That which the dogs leave, the birds of the air shall devour.... Ah, Jokanaan, Jokanaan, thou wert the only man that I have loved. All other men are hateful to me. But thou, thou wert beautiful! Thy body was a column of ivory set on a silver socket. It was a garden full of doves and of silver lilies. It was a tower of silver decked with shields of ivory. There was nothing in the world so white as thy body. There was nothing in the world so black as thy hair. In the whole world there was nothing so red as thy mouth. Thy voice was a censer that scattered strange perfumes, and when I looked on thee I heard a strange music. Ah! wherefore didst thou not look at me, Jokanaan? Behind thine hands and thy curses thou didst hide thy face. Thou didst put upon thine eyes the covering of him who would see his God. Well, thou hast seen thy God, Jokanaan, but me, me, thou didst never see. If thou hadst seen me thou wouldst have loved me. I, I saw thee, Jokanaan, and I loved thee. Oh, how I loved thee! I love thee yet, Jokanaan, I love thee only.... I am athirst for thy beauty; I am hungry for thy body; and neither wine nor fruits can appease my desire. What shall I do now, Jokanaan? Neither the floods nor the great waters can quench my passion. I was a princess, and thou didst scorn me. I was a virgin, and thou didst take my virginity from me. I was chaste, and thou didst fill my veins with fire.... Ah! ah! wherefore didst thou not look at me, Jokanaan? If thou hadst looked at me thou hadst loved me. Well I know that thou wouldst have loved me, and the mystery of love is greater than the mystery of death. Love only should one consider.

Ah! You wouldn’t let me kiss your lips, Jokanaan. Well! I’m going to kiss them now. I’ll bite them with my teeth like you bite into ripe fruit. Yes, I will kiss your mouth, Jokanaan. I said it; didn’t I say it? I said it. Ah! I will kiss it now.... But why won’t you look at me, Jokanaan? Your eyes that were so fierce, so full of rage and contempt, are closed now. Why are they closed? Open your eyes! Lift your eyelids, Jokanaan! Why won’t you look at me? Are you afraid of me, Jokanaan, that you won’t look at me?... And your tongue, which was like a red snake that spat poison, it doesn’t move anymore, it says nothing now, Jokanaan, that scarlet viper that unleashed its venom on me. It’s strange, isn’t it? Why is it that the red viper stirs no longer?... You wanted nothing to do with me, Jokanaan. You rejected me. You spoke ill of me. You treated me like a prostitute, like a wanton, me, Salomé, daughter of Herodias, Princess of Judea! Well, Jokanaan, I’m still alive, but you, you are dead, and your head belongs to me. I can do with it what I want. I can toss it to the dogs and the birds of the air. What the dogs leave, the birds of the air will devour.... Ah, Jokanaan, Jokanaan, you were the only man I've ever loved. All other men are repulsive to me. But you, you were beautiful! Your body was like a column of ivory on a silver base. It was a garden full of doves and silver lilies. It was a silver tower adorned with ivory shields. There was nothing in the world as white as your body. There was nothing in the world as black as your hair. In the whole world, there was nothing so red as your mouth. Your voice was like a censer releasing exotic perfumes, and when I looked at you, I heard a strange melody. Ah! why didn’t you look at me, Jokanaan? Behind your hands and your curses you hid your face. You covered your eyes like someone who wants to see their God. Well, you have seen your God, Jokanaan, but me, me, you never saw. If you had seen me, you would have loved me. I, I saw you, Jokanaan, and I loved you. Oh, how I loved you! I love you still, Jokanaan, I love you only.... I thirst for your beauty; I hunger for your body; and neither wine nor fruits can satisfy my desire. What should I do now, Jokanaan? Neither floods nor great waters can quench my passion. I was a princess, and you scorned me. I was a virgin, and you took my virginity from me. I was chaste, and you filled my veins with fire.... Ah! ah! why didn’t you look at me, Jokanaan? If you had looked at me, you would have loved me. I know well that you would have loved me, and the mystery of love is greater than the mystery of death. Love is all one should consider.

HEROD

She is monstrous, thy daughter, she is altogether monstrous. In truth, what she has done is a great crime. I am sure that it was a crime against an unknown God.

She is monstrous, your daughter, she is completely monstrous. Honestly, what she has done is a serious crime. I’m certain that it was a crime against an unknown God.

HERODIAS

Herodias

I approve of what my daughter has done. And I will stay here now.

I support what my daughter has done. And I'll be staying here now.

HEROD

[Rising].

[Growing].

Ah! There speaks the incestuous wife! Come! I will not stay here. Come, I tell thee. Surely some terrible thing will befall. Manasseh, Issachar, Ozias, put out the torches. I will not look at things, I will not suffer things to look at me. Put out the torches! Hide the moon! Hide the stars! Let us hide ourselves in our palace, Herodias. I begin to be afraid.

Ah! There goes the incestuous wife! Come on! I’m not staying here. Come on, I’m telling you. Something terrible is bound to happen. Manasseh, Issachar, Ozias, put out the torches. I don’t want to see anything, and I don’t want it to see me. Put out the torches! Hide the moon! Hide the stars! Let’s hide ourselves in our palace, Herodias. I’m starting to feel scared.

[The slaves put out the torches. The stars disappear. A great black cloud crosses the moon and conceals it completely. The stage becomes very dark. The Tetrarch begins to climb the staircase.]

[The slaves extinguish the torches. The stars vanish. A large black cloud moves across the moon and completely blocks it out. The stage goes very dark. The Tetrarch starts to ascend the staircase.]

THE VOICE OF SALOMÉ

Salomé's Voice

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?... But perchance it is the taste of love.... They say that love hath a bitter taste.... But what of that? what of that? I have kissed thy mouth, Jokanaan.

Ah! I have kissed your mouth, Jokanaan, I have kissed your mouth. There was a bitter taste on your lips. Was it the taste of blood?... But maybe it’s the taste of love.... They say love has a bitter taste.... But who cares? Who cares? I have kissed your mouth, Jokanaan.

[A moonbeam falls on Salomé covering her with light.]

A moonbeam shines on Salomé, enveloping her in light.

HEROD

[Turning round and seeing Salomé.]

[Turning around and seeing Salomé.]

Kill that woman!

Eliminate that woman!

[The soldiers rush forward and crush beneath their shields Salomé, daughter of Herodias, Princess of Judæa.]

[The soldiers charge ahead and overpower Salomé, daughter of Herodias, Princess of Judea, beneath their shields.]

CURTAIN.

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