|The Complete Works of Oscar Wilde, volume V|
An announcement of the second lecture was printed on translucent paper. There is a copy in the Rosenbach Museum and Library. I did not see the flyer when I was there.
There is more about Wilde at the Rosenbach Museum and Library. An image in the new volume illustrates a floor plan for Salomé (the French original). Salomé, daughter of Herodias, dances for Herod, 'the Tetrarch'. Herod is so taken with her dance, that he promises her everything she wants, which turns out to be the head of John the Baptist, who is a captive (in a cistern) in the palace, and who is called Iokanaan. Salomé has fallen in love with him, he has refused her, and she demands his execution by asking for his head on a silver tray. Then, while she kisses the dead lips, Herod has her killed.
The 'ground plan' in the Philadelphia collection is in several hands. The hand of Wilde is easily recognizable, see for example his 'o la lune', and other words that are written in ink.
|'Plan de la scene' for Salomé [detail] (Rosenbach Museum and Library)|
However, the words written in pencil do not show Ricketts's characteristic handwriting. Although the re-location of staircase and cistern are confirmed by Ricketts's own staging of the play in 1906, we must still doubt his involvement in this particular, early sketch of the scene.
The Rosenbach also possesses the third manuscript draft of Salomé, with 'interlinear interventions in the presumed hand of Pierre Louÿs, whose grammatical corrections Wilde accepted but whose other suggestions he steadfastly rejected' (p. 335).
The long, informative introduction frequently quotes Ricketts, who repeatedly wrote about the play.