Salome

Jokanaan is the love interest and an antagonist to Salomé. He is based on the biblical figure of John the Baptist. Jokanaan is a flat character who is not changed by the events of the narrative, remaining unaffected by Salomé’s seduction. He is a prophet who has been imprisoned in a cistern at Herod’s palace for criticizing his marriage to Herodias, claiming that it is incestuous. Herod refuses to kill him because he is considered to be a holy man, but Herodias wants him to die for insulting her. Jokanaan alternates between condemning Herodias for her incestuous marriage and predicting the coming of the Messiah. In his first speech, he cryptically promises that “the new-born child shall put his hand upon the dragon’s lair, he shall lead the lions by their manes” (6). These mysterious prophecies, full of allusions to mythical creatures such as dragons, centaurs, and basilisks, are contrasted with more direct and clear admonishments against Herodias. When he emerges from the cistern he calls out for the queen: “bid her rise up from the bed of her abominations, from the bed of her incestuousness, that she may hear the words of him who prepareth the way of the Lord, that she may repent of her iniquities” (18). Jokanaan also speaks harshly to Salomé, calling her “daughter of Babylon” (19) and “daughter of Sodom” (20) in reference to places associated with sexual sin.

Jokanaan’s physical appearance suggests his wildness and also the appealing contrast between the colors of black, white, and red. Herod’s soldiers mention that he has been living in the wilderness previously, and Salomé describes his hair as looking unkempt and wild, saying “it is covered with mire and dust. It is like a crown of thorns which they have placed on thy forehead” (22). She finds his eyes particularly alarming, describing them as “like black holes burned by torches in a Tyrian tapestry. They are like black caverns where dragons dwell” (18). While Salomé’s golden eyes convey the preciousness of her gaze, Jokanaan’s eyes signify that he places no value on sight. His eyes are compared to empty holes, dark locations where nothing can be perceived. This signifies that he will not be tempted by Salomé’s beauty, as his eyes do not see meaningless material things, focusing instead of divine things. Despite his wild and frightening appearance, Salomé finds him very attractive, signifying that the border between the beautiful and the grotesque is blurry.

Throughout the play, Jokanaan’s lines are primarily spoken from offstage. He only appears on the stage for a short time when he meets with Salomé and is otherwise defined only by his voice. When the executioner goes down into the cistern, however, Salomé observes that “there is no sound. I hear nothing. Why does he not cry out, this man?” (62). Jokanaan’s silent death conveys that he does not fear his martyrdom. When Salomé hears his head fall to the ground, she thinks that it is the executioner dropping his blade, implying that she fears that his power will make him unable to be killed. While Jokanaan does die and his critical words and prophecies are silenced, the loss of his voice does not result in the end of his power. Even as a silent spectacle, his decapitated head continues to exert influence over Herod’s court, attracting Salomé and disturbing the courtiers, compelling Herod to order his own stepdaughter’s death.

King Herod, based on the biblical and historical figure of Herod Antipas, is the Tetrarch of Galilee and Perea. He is the ruler of the region, but he is subordinate to the Roman Emperor, Caesar Augustus. Herod is Salomé’s stepfather and the husband of Herodias. Herodias’s previous husband was his brother, who he ordered to be imprisoned and then strangled to death. While Herod presents himself as a benevolent and tolerant ruler, his actions hint that he is only merciful due to fear, and he is prone to indulging his vices.

Herod’s behavior at the banquet signifies his vanity and opulent lifestyle. All of the servants observe that “the Tetrarch is very fond of wine” (4), and he drinks constantly throughout the play. Similarly, Herodias often points out that he looks too much at Salomé, suggesting that he has lustful feelings for her despite her being his stepdaughter. Herod seems to value beauty more than anything else, displaying his lack of moral conviction through his remarks about the death of the Young Syrian. Rather than empathetically responding to the man’s death by suicide, he dismisses the act, saying “it is ridiculous to kill oneself” (29). He only mourns the loss of beauty: “I am very sorry; for he was fair to look upon” (29). When Salomé requests the head of Jokanaan after her dance, Herod lists the many other rich and exotic gifts he could give her. His speech evokes orientalist stereotypes of the east as being full of luxury and mysticism. After promising Salomé numerous gemstones, he goes on to claim, “The King of the Indies has but even now sent me four fans fashioned from the feathers of parrots, and the King of Numidia a garment of ostrich feathers. I have a crystal, into which it is not lawful for a woman to look, nor may young men behold it until they have been beaten with rods. In a coffer of nacre I have three wondrous turquoises. He who wears them on his forehead can imagine things which are not, and he who carried them in his hand can make women sterile” (60-61). Herod’s treasury signifies his vanity and his taste for exoticism and mystery.

Herod is also deeply superstitious and holds it as a bad omen that he slipped in blood and heard the sound of wingbeats. He is fearful and paranoid after hearing Jokanaan’s prophecies, going so far as to suggest that perhaps his marriage to Herodias was incestuous, resulting in the couple’s sterility. However, Herodias reminds him that she has previously had a child, Salomé, and he was the one who killed his brother. She tells him, “it was you who tore me from his arms” (42), calling attention to Herod’s hypocrisy. Herod is easily disturbed by omens and symbols, but he refuses to interpret them as critical of his own actions. At the end of the play, he is so disturbed by seeing Salomé kissing Jokanaan’s head that he orders her to be killed. While he has felt attraction to his own stepdaughter, he is hypocritically repelled when she also exhibits a taboo form of desire.