This essay is the critical recognition of the stages of the fascinating itinerary of a work Salome, which is the extreme testimony of the fin de siècle decadence. The text, originally written in French by Oscar Wilde, is a complex mosaic of literary and artistic reminiscences that happily intersect and, passing through its English version, inspired an exceptional series of fine illustrations by Aubrey Beardsley. These are not a simple translation, but an interpretation, faithful and unfaithful at the same time, always original and elegant, of the tragedy, which finally culminates, thanks to the valuable German translation by Hedwig Lachmann, in the musical masterpiece of Richard Strauss. A common formal element of these three versions is the magical figure of ternary iterative redundancy.
University of Florence, Italy