by Leanne Ogasawara
Ending her dance naked at his feet, the king tells her she can have anything her heart desires.
Salome doesn't even need to think about it–for she already knows what she wants.
King Herod, mad with love for her, asks if she wouldn't prefer jewels and half his kingdom instead. But Salome stands firm. And so the king has no choice but to deliver the head of John the Baptist on a silver tray.
Oscar Wilde's version of the story, while at first banned in England, was immediately popular in Japan in the late Meiji and early Taisho periods. One of Japan's most famous modern poets, Takamura Kotaro, even included the Wilde version of the story in one of his early poems, Awakening on Winter Mornings (冬の朝のめざめ):
On winter mornings
Even the River Jordan must be covered in a thin layer of ice
Wrapped up in my white blanket there in my bedroom
I imagine how John the Baptist felt a
As he baptized Christ
I imagine how Salome felt
As she held John’s severed head
Wilde was not the first—nor the last— artist to be fascinated by this idea of a woman gone so mad in love with John that she prefers to see him dead than to live with the thought that he did not love her. Strauss' opera ends with her passionately kissing the lips of his disembodied head in what must be one of the most badass moments in opera history.
And what then became of his beautiful head?
Entwined with the history of Jerusalem, some have claimed that his head was interred in Herod's palace- a city whose history is itself so gruesome and grisly that the story of Salome is but a mere blip.
