Oscar Wilde's Salome and Andre Gide's Saul have been considered
critically in the traditional contexts of authorial oeuvre,
biography, or "thought." These plays have been treated with
embarrassed respect, dealt with only because of the importance of
their authors. That Wilde and Gide made use of biblical material
seems to discomfit their critics; that they had done so at a time
when biblical drama was prohibited has rarely been addressed.
Traditional critical treatments seek to smooth over the plays'
aberrant qualities. This study takes them seriously as aberrations
and investigates Wilde's and Gide's claims that these plays are
works of faith, by considering them as participating in the history
of biblical drama.
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