By Ruth (Ed. ) Berolzheimer
This booklet will convey tips to use everything-throw away nothing-and provide you with stable, tasty, healthy nutrients.
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Therefore, she is doubly hard to grasp; she is a mirror image of a shadow (she “is like the shadow of a white rose in a mirror of silver”). She is only a representation of darkness. In effect, those that look upon her are the real shadows; they are the dark figures in the play. Salome is a play about movement that, in its search, seeks out sexuality, but finds unexpected sexuality and death. The movement associated with Salome’s own death is particularly important. We can see from the Rosenbach Salome that Oscar Wilde clearly thought about the placement of the staircase.
Metaphorically, it is the prophet who sees, but in this case he is blind to her identity. Thus, Salome only feels comfortable with who she is (as she states it above with exactitude) when a person (in this case, Iokanaan) does not see or gaze upon her as Salome. Salome, then, is in an awful predicament. She is only herself, Salome (to herself in “earnest”), when she is not Salome to others. Likewise, as long as she remains “Salome” to others, she simultaneously is not Salome in earnest. Salome’s change of location, both inside and outside of the palace, is Salome’s version of bunburying.
Müller, “Identity, Paradox, Difference,” 525–526. Büchner, Danton’s Death, 28. Ibid. 28. Ibid. 51. Ibid. 54. Ibid. 54–55. Ibid. 55. Ibid. 55. Ibid. 56. Ibid. 108. Ibid. 27. Ibid. 46–47. Marx, Eighteenth Brumaire, 15. Büchner, Danton’s Death, 28. Ibid. 108. This idea, of course, comes from the idea that there is a “consciousness of doubleness” in performance, according to Richard Bauman, and quoted and explained in detail by Marvin Carlson: see Carlson, Performance, 6.