He has borrowed the colour and Oriental cruelty with the banquet-scene from the Frenchman, and from the Fleming the simplicity of language and the haunting effect produced by the repetition of significant phrases.

Yet "Salome" is original through the mingling of lust and hatred in the heroine, and by making this extraordinary virgin the chief and centre of the drama Oscar has heightened the interest of the story and bettered Flaubert's design.

I feel sure he copied Maeterlinck's simplicity of style because it served to disguise his imperfect knowledge of French and yet this very artlessness adds to the weird effect of the drama.
The lust that inspires the tragedy was characteristic, but the cruelty was foreign to Oscar; both qualities would have injured him in England, had it not been for two things.

First of all only a few of the best class of English people know French at all well, and for the most part they disdain the sex-morality of their race; while the vast mass of the English public regard French as in itself an immoral medium and is inclined to treat anything in that tongue with contemptuous indifference.

One can only say that "Salome" confirmed Oscar's growing reputation for abnormal viciousness.
It was in 1892 that some of Oscar's friends struck me for the first time as questionable, to say the best of them.