What are we to make of the fact that Leonardo da Vinci and his students detected a certain kinship between John the Baptist and Dionysus? The two figures seemingly could not be more different — the grim ascetic preaching repentance and the god of revelry. One could perhaps forgive Donatello his “fabulous,” sassy David, given that David was, after all, a young man whose appearance had drawn God’s eye. (In this case, the stranger choice is Bernini’s older David, captured mid-throw.) How could John the Baptist be portrayed as an androgynous, sensual figure? Did Leonardo simply mix him up with John the Beloved Disciple?
We see this strange sexuality of John the Baptist emerge again in Strauss’s Salome. Here, though, it is a mark of perversion and decadence as Salome incomprehensibly takes John as a sexual object and, after being rejected, willingly collaborates with her mother in his beheading out of vengeance. This strange attraction culminates in a disturbing scene where Salome kisses and carresses the Baptist’s disembodied head. This is very different from Leonardo’s straightforward presentation — where Strauss plays on the very unthinkability of John’s sexuality, Leonardo is able to present it as a simple fact, as almost self-evident.
Nietzsche might see here an acknowledgment of the inherent sensuality of asceticism, the erotic charge of denial. How much greater, how much more durable and even unlimited is the jouissance derived directly from the refusal of jouissance — excessive piety is the greatest of festivals, the carnival that never has to end because it has finally become life rather than the exception or relief from life. If only the ascetic has truly experienced jouissance, then what better figure to serve as the Christian answer to Dionysus than John the Baptist, who is in fact the very threshold of the Christian dispensation itself?