Herod Antipas - Legacy

Legacy

Among the followers of Jesus and members of the early Christian movement mentioned in the New Testament are Joanna, the wife of one of Antipas' stewards, and Manaen, a "foster-brother" or "companion" of Antipas (both translations are possible for the Greek σύντροφος). It has been conjectured that these were sources for early Christian knowledge of Antipas and his court. In any case, Antipas featured prominently in the New Testament in connection with the deaths of John the Baptist and Jesus (see above). The pseudepigraphical Gospel of Peter went further, stating that it was Antipas rather than Pilate who ordered the crucifixion of Jesus. In line with the work's anti-Judaic theme, it pointedly remarked that Herod and "the Jews", unlike Pilate, refused to "wash their hands" of responsibility for the death.

Antipas has appeared in a large number of representations of the passion of Jesus – most notably portrayed by Frank Thring in King of Kings (1961), José Ferrer in The Greatest Story Ever Told (1965), and Christopher Plummer in Jesus of Nazareth (1977). Often, as in the films Jesus Christ Superstar (1973) and The Passion of the Christ (2004), Antipas is portrayed as effeminate (Antipas was played in those films by Joshua Mostel and Luca De Dominicis respectively); the origin of this tradition may have been Antipas' manipulation by his wife Herodias, as well as Christ's description of him as a "fox" in Luke 13:32, using a feminine word in the original Greek. In "Salome" (1953), he is portrayed by Charles Laughton, opposite Dame Judith Anderson as Herodias and Rita Hayworth in the title role. He also features in The Secret Magdalene by Ki Longfellow. In Longfellow's view, he was not effeminate so much as rash, ineffective, and when backed into a corner by his furious ex-father-in-law, willing to do anything to save himself.

In Flaubert's "Herodias" (1877), Herodias uses her long-concealed daughter, Salome, to manipulate Herod sexually for her own political purposes. This conceit (original with Flaubert) inspired Oscar Wilde's play "Salome" (1891), the first version of the legend to show Salome with a will of her own, opposing her mother and lusting after John the Baptist herself. Naive and puzzled by her stepfather's lascivious attentions, the young girl arouses Herod in order to avenge herself on the prophet who has refused her advances. Flaubert's novella was turned into an opera by Jules Massenet (1881) in which Salome, ignorant of her royal parentage, becomes a disciple of the Baptist, who is then executed by the lustful and jealous Herod (a baritone). In Richard Strauss's operatic setting of Wilde's play (1905), Herod, one of the most difficult tenor roles in the repertory, is depicted as befuddled by both drink and lust, and in bitter conflict with his wife (as in Flaubert). At the end of the opera (as in Wilde's play), disgusted with Salome's behavior with the head of John, he orders her execution.

Flaubert's novella was also, very roughly, the basis of the 1953 film "Salome," a Rita Hayworth vehicle directed by William Dieterle, in which the girl is implausibly unaware that her dancing will be used by her mother (Judith Anderson) to secure Herod's (Charles Laughton) consent to the execution of John the Baptist (Alan Badel).