Abstract
Many critics have noted the similarity between Oscar Wilde's Salomé and Hugo von Hofmannsthal's Elektra but few have seen the differences. Richard Strauss's operatic versions have emphasized this likeness. There is, however, a distinct difference in the atmosphere and form of the two plays, the psychological treatment of the characters, and the aesthetic purposes of the authors. the atmosphere of Salomé is multi‐colored and oriental; that of Elektra is dark and reflects the barbarity of its Bronze‐Age background. Wilde's play is language‐oriented (it is a lyric drama) whereas Hofmannsthal's play is far more dramatic, using Freudian psychology to interpret an ancient myth. Thus, Salomé displays almost no Aristotelian dianoia, while Elektra depends heavily upon it. In conclusion the plays are neither similar as the critics and Strauss thought nor as dissimilar as Hofmannsthal thought, but related all the same.
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