The Triple Goddess in OScar wilde´s "Salome"

The influence of Lady´ Wilde´s studies on popular Irish literature is clearly seen in his son´s writings where Celtic influence is present (1). His Fairy Tales show this with respect to the use of some “symbolic cromatism” centered on red, white and black., frequent in Celtic-origined poetry and connected to the image of a beloved person. Such as the example of Deirdre in The Death of Usnech´s sons : thanks to the enlightening vision of a raven sucking blood within the snow, gets to know that her true lover will have raven-like hair, blood-like cheeks and snowy body (2), quite a similar image to that of Welsh Peredur´s sweetheart:
“... her skin was whiter than the flower of the whiter crystal , while her hair and eyebrow were blacker than jet and in her cheeks were two little red spots redder than the reddest thing “ (3)
This imagery re-appears in stories like The Nightingale and the rose . The protagonist, a young student who hopelessly searches for a red rose in order to conquer his beloved is described by the nightingale as dark-haired as the hyacynth, with red lips “like the rose of his desire” and pale-skinned like ivory.(5). Likewise, the only way of reaching his aim is by means of Death, through the nightingale´s sacrifice : the bird will spill hos blood on a white rose at nicht whereas singing in the moonlight, stabbed by a rosethorn. We also find this symbolic meaning specially intensified throughout Salome.
Although Wilde chooses a subject whose cultural background is obviously different, the colours we have mentioned deeply evoke Celtic symbolism. We should also mention the omnipresent motif of the Moon , constantly associated to female characters and unmistakable allegory of purity, lust and death, which makes us immediately think of the representations of the Triple Goddess.
We must keep in mind that Celts used to stablish a correspondence between the different aspects of Mother Goddess and the Moon´s phases. The first one was the Maiden, symbol of purity and vital impulse, which was connected with the Crescent and whiteness. Another aspect was that of the Mother or Mature Woman, fecundity, sexuality and plenitude, linked to the Full Moon and Red. And last, we have The Old Wisewoman,representative of Death, decadence and, nonetheless, wisdom and occult knowledge, related to blackness and the New Moon. In this play, the first aspect would correspond to princess Salome, the second, to her mother and the third , to Death itself, though this does not appear personified.
The moon of the Maiden Goddess, though may manifest herself full throughout the play, is individually evoked by Salome and her enamoured Syrian captain. Both refer to its linking to virginity and from that they both develop a series of metaphors which are unconsciously fused. Nevertheless, Herodias´slave´s point of view is drammatically opposed. He, in love with the Syrian, thinks that the Moon´s whiteness is a constant forethought of death.
That Red Moon perceived by Herod in one moment of the play is a crystal-clear image of his hedonist psychology and the sensuality simbolized by Mother Goddess – the Tetrarch sees the Moon as a drunken prostitute – and makes us think about Herodias’ being constantly called a whore. Finally, the Old Hag or Death´s Goddess takes away the main characters of the play – Salome, Jokhanan and the Syrian captain . A short time before the tragic ending the Moon has got dark.
Manifestations of the maiden, the sensuous woman and the old death-bringer
************************************************************************+
The first words of the play evoke Salome firstly and immediately after the Moon – Death Goddess. They are introduced by Narrabotj the Syrian:
“How beautiful is the princess Salome tonight!”
and Herodias’ slave:
“Look at the moon! How strange the monn seems! She is like a woman rising from the tomb. She is like a dead woman. You would fancy she was looking for dead things!” (6)
Narraboth is aware of the prophetic value bestowed upon the Moon, but inversely, comparing it to Salome – therefore, to a maiden – and, unconsciously, anticipating the fateful veil dance. This contrast is depthened by the same syntactic structures his listener is using :
“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 doves for feet. You would fancy she was dancing,”
The page still insists on evoking the Moon as Death Goddess.
!She is like a woman who is dead”
Later on, Herod is also aware of the strange look of the Moon:
“The moon has a strange look tonight. Has she not a strange look?” (7)
Its influence is evident all through the play, so that it may be considered almost an outstanding character within the work.
The imagery linked to Salome by the young Syrian, always evoking purity – that is, the Maiden – remains all along the play like some sort of leit-motif, as it appears in the page´s omen-like words:
“ How beautiful is the princess Salome tonight!”
“You are always looking at her, you look at her too much. It is dangeorus to look at people in such fashion . Something terrible may happen”
Both characters make up a duet absent from everyone that surrounds them. Their manner of speaking, full of forethoughts, evoke some kind of uncanny, almost magical atmosphere around them , amidst that matter-of-fact conversation among the soldiers about Herod and the party.
“FIRST SOLDIER – He is looking at something.
SECOND SOLDIER –He is looking at someone.
FIRST SOLDIER – At whom he is looking?
SECOND SOLDIER – I cannot tell.
THE YOUNG SYRIAN –How pale the eprincess is! Never have I seen her so pale!. She is like the shadow of a white rose in a mirror of silver.”
THE PAGE – You must not look at her”
Y, más tarde, entre la conversación del capadocio, el nubio y los soldados:
THE YOUNG SYRIAN –The princesa has hidden her face venid her fan, Her white hands are fluttering like doves that fly to their dove-cots. They are like white butterflies. They are just like white butterflies.
THE PAGE –What is it to you?Why do you look at her? You must not look at her (....)something terrible may happen”(9)
Their trance-like attitude in fron of the Moon involves a sort of mesmerized behaviour, reflected on the constant repetition of metaphors and syntactic structures. This makes us understand the concept of “magical atmosphere” we referred to before. Narraboth evokes Salome with images closely related to moonly colours, white and silvery, that Celtic symbology used to relate to magic and foreseeing visions – just remember that druids used to wear white and white mistletoe was held as specially scared. Doves, white flowers return when salome leaves the hall.
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. “(10)