When the opera was performed at Berlin it is interesting to remember that the Kaiser, whose views on morality are strict enough to satisfy the most exacting Puritan, far from seeing anything to object to in the story, not only was present on the opening night, but took an active interest in the rehearsals, going so far even as to suggest certain mechanical effects. In New York a perfect storm of execration from the "ultra guid" greeted the production of Strauss's work, which was almost immediately withdrawn. It is only justice to say that the rendering of the Dance of the Seven Veils was in a great measure responsible for this. It was also freely rumoured that the puritanical daughter of one of the millionaire directors of the Opera House had used her influence for the suppression of the new production. It is interesting to hear what the objectors to the story have to say, and with this view I quote two extracts, one from a letter written by Mr E. A. Baughan to _The Musical Standard_ and the other from a well-known critic writing in a leading provincial paper. Mr Baughan writes: "Oscar Wilde took nothing but the characters and the incident of John the Baptist's head being brought in a charger. All else is changed and bears no relation to the Bible story. That would not matter had worthy use been made of the story. "In 'Salomé' everything is twisted to create an atmosphere of eroticism and sensuality. That is the aim of the play and nothing else. There is none of the 'wide bearing on life' which you vaguely suggest. Herod is a sensuous beast who takes delight in the beautiful postures of his stepdaughter. He speaks line after line of highly coloured imagery and his mental condition is that of a man on the verge of delirium tremens, brought on by drink and satyriasis. Oscar Wilde does not make him 'sorry' but only slightly superstitious, thus losing whatever of drama there is in the Bible narrative. "So far, and in the drawing of Herodias, the dramatist may be allowed the licence he has taken, however. Even a Puritan must admit that art must show the evil as well as the good of life to present a perfect whole. "But it is in the character of Salomé herself that Oscar Wilde has succeeded in his aim of shocking any man or woman of decent mind. He makes Salomé in love with John the Baptist. It is a horrible, decadent, lascivious love. She prates of his beautiful smooth limbs and the cold, passionless lips which he will not yield to her insensate desire. It is a picture of unnatural passion, all the more terrible that Salomé is a young girl. John the Baptist's death is brought about as much by Salomé as her mother. The prophet will not yield himself alive to Salomé's desires, but she can, and does, feed her passion at his dead, cold lips. And that is what has disgusted New York.