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Updated: June 19, 2025
The account of the arena under Nero should not be missed, but it is too long to quote here. The book, which we give three stars, is dedicated to Edwin Albert Schroeder. Fortunately, of all Saltus's works, it is the most readily procurable. "Imperial Purple" has had a curious history.
The book is dedicated to Edgar Fawcett, "perfect poet perfect friend" and is embellished with a portrait of its author. "The Story Without a Name" is a translation of "Une Histoire Sans Nom" of Barbey d'Aurevilly, and is preceded by one of Saltus's charming and atmospheric literary essays, the best on d'Aurevilly to be found in English. When this book first appeared, Mr.
The dance on the hands is a detail from Flaubert, a detail which Tissot followed in his painting of Salome.... From the later chapters it is possible that Paul Heyse filched an idea. The turning point of his drama, Maria von Magdala, hinges on Judas's love for Mary and his jealousy of Jesus. Saltus develops exactly this situation. Heyse's play appeared in 1899, eight years after Saltus's novel.
Neither form nor matter assume ponderous shape in this volume, which in the quality of its contents reminds one faintly of Franz Blei's lady's breviary, "The Powder Puff," but Saltus's book is the more ingratiating of the two. Satan's pomps are varied; the author exposes his whims, his ideas, images the past, forecasts the future, deplores the present.
The book is dedicated to Lorillard Ronalds who, the author explains in a few French phrases, asked him to write something "de très pure et de très chaste, pour une jeunesse, sans doute." He adds that the story is a rewriting of a tale which had appeared twenty years earlier. "Imperial Purple" marks the high-tide of Saltus's peculiar genius.
"The Perfume of Eros" is frenzied fiction again; amnesia, drunkenness, white slavery, sex, are its mingled themes. There is a pretty picture, recognizable in any smart community, of a witty woman of fashion, and a full-length portrait of a bounder. "The Yellow Fay," Saltus's cliché for the Demon Rum, was the original title of this "Fifth Avenue Incident."
Saltus informs me, a reviewer, "who contrived to be both amusing and complimentary," said that Barbey d'Aurevilly was a fictitious person and that this vile story was Saltus's own vile work! "Mary Magdalen," on the whole disappointing, is nevertheless one of the important Saltus opera.
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