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王尔德生于爱尔兰,毕业于牛津大学,成为学校的领导的唯美主义。学校在英语文学和艺术的唯美主义在19世纪的最后十年源于拉斐尔前派艺术家谁在蓬勃发展的中产几十年的19世纪从法国诗人包括主要的讯息戈蒂埃的创始人,与道德无关的“为艺术而艺术”的理论,和保罗魏尔伦,首席代表的法国学校的象征。王尔德跟着文学理论已经提倡的沃尔特·佩特:“艺术与道德无关,即艺术不是不道德的,是最好的艺术是纯粹的艺术,艺术评论家的职责是告诉他自己的印象的一件艺术品,艺术的功能是吸引。(埃尔曼25)。https://www.51lunwen.org/euroliterature/
　　　Oscar Wilde, born in Ireland and educated at Oxford, fell under the influence of Ruskin and Walter Pater and became a leader of the school of aestheticism. The school of aestheticism in English literature and art in the last decades of the 19th century stemmed from the Pre-Raphaelites who flourished in the middle decades of the 19th century and from the French poets including chiefly Theophile Gautier, the founder of the amoral “art for art’s sake’’ theory, and Paul Verlaine, the chief representative of the French school of symbolism. Wilde followed the literary theory already advocated by Walter Pater: that “art has nothing to do with morality, i.e. art is not moral nor immoral but amoral, that the best of art is pure art, that the duty of an art critic is to tell his own impressions of a work of art, and that the function of art is to attract, to please and to provide enjoyment” (Ellmann 25). But he elaborated on this theory of art for art’s sake, and even declared that “it is not art that reflects nature but it is nature that is the reflection of art”. And with this premise he proceeded to the paradox that “real art is based on lying and that art should not begin with the study of life but should begin with the study of what is untrue and does not exist” (Ellmann 26). In other words, Wilde considered art as existing independently of life or reality, and arrived at the basic principle for his aesthetics that “art is above life” (30). As a result, it is the artistic form that is extremely important to Wilde and should be paid special attention to.
王尔德的莎乐美的历史是漫长而复杂的。王尔德是生活在巴黎在1891年之后,他写了剧本《莎乐美在简单的法语,以示对法国文化的评价。赫斯基皮尔逊说,当王尔德他讨论住在巴黎的传说和一些法国作家莎乐美他的熟人,变得如此兴奋的戏剧性的可能性在返回自己的住处在29大道des Capucines他拿起一个空白笔记本,开始了他的发挥。
　　　　The history of Wilde’s Salome is long and complicated. By the late 1890s Wilde had transferred his allegiance from the English aesthetic school to French school. Wilde was living in Paris after 1891, and he wrote the play Salome in simple French as a gesture of admiration for French culture. Hesketh Pearson says that when Wilde lived in Paris he discussed the legend of Salome with some French writers of his acquaintance and became so excited by its dramatic possibilities that on his return to his lodgings at 29 Boulevard des Capucines he took up a blank notebook which happened to be lying on the table and began his play. ‘If the blank book had not been there on the table I should never have dreamed of doing it. I should not have sent out to buy one.’(Bird 54) Wilde is said to have stated later. It was fitting that the only production of Salome during Wilde’s life occurred in 1896 in Paris. This was the home of symbolist theatre. During 1891 his visits to Paris cemented friendships with many symbolists. So French, in the cultural context of symbolism, is the only language in which the play could have been written. “What is symbolism if not an establishing of the links which hold the world together, the affirmation of an eternal, minute, intricate, almost invisible life, which runs through the whole universe?” asked Arthur Symons (146). Actually, the answer lies in itself, as he proceeded,
　　　A higher plane of spiritual awareness can be suggested by the ar