PYRRHIC : In classical Greek or Latin poetry, this foot consists of two unaccented syllables--the opposite of a spondee . At best, a pyrrhic foot is an unusual aberration in English verse, and most prosodists (including me!) do not accept it as a foot at all because it contains no accented syllable. Normally, the context or prevailing iambs, trochees, or spondees in surrounding lines overwhelms any potential pyrrhic foot, and a speaker reading the foot aloud will tend artificially to stress either the first or last syllable. See meter for more information.
Wilde's version of the story has since spawned several other artistic works, the most famous of which is Richard Strauss 's opera of the same name . Strauss saw Wilde's play in Berlin in November 1902, at Max Reinhardt 's 'Little Theatre', with Gertrud Eysoldt in the title role, and began to compose his opera in summer 1903, completing it in 1905 and premiering it later the same year.  The Strauss opera moves the centre of interest to Salome, away from Herod Antipas . However, it was not the only operatic treatment. Antoine Mariotte also wrote Salomé in 1905, and he was involved in a debate with Strauss to prove that his music was written earlier than Strauss's version. Mariotte's version was premiered in 1908.
Hughes chose to write in the idiom of black America and for more than forty years experimented with its cadences and accents. Most of “Thank You, M’am” is written in an urban dialect. This reliance on colloquial dialogue to reveal personality is one characteristic of the traditional African American oral style that Hughes often employs. Other characteristics are a deceptively simple sentence structure and a presentational style of narration. Hughes has the woman and the boy speak directly; they seldom demand or declare but simply ask or say. Hughes also has the narrator speak in a colloquial voice. The narrator tells the reader, “The large woman simply turned around and kicked him right square in his blue jeaned sitter.”