Venus in Furs by Ritter von Leopold Sacher-Masoch (ebook reader .TXT) 📖

and Christian incense; let us pagans remain under the debris, beneath the lava; do not disinter us. Pompeii was not built for you, nor our villas, our baths, our temples. You do not require gods. We are chilled in your world."

The beautiful marble woman coughed, and drew the dark sables still closer about her shoulders.

"Much obliged for the classical lesson," I replied, "but you cannot deny, that man and woman are mortal enemies, in your serene sunlit world as well as in our foggy one. In love there is union into a single being for a short time only, capable of only one thought, one sensation, one will, in order to be then further disunited. And you know this better than I; whichever of the two fails to subjugate will soon feel the feet of the other on his neck—"

"And as a rule the man that of the woman," cried Madame Venus with proud mockery, "which you know better than I."

"Of course, and that is why I don't have any illusions."

"You mean you are now my slave without illusions, and for that reason you shall feel the weight of my foot without mercy."

"Madame!"

"Don't you know me yet? Yes, I am cruel—since you take so much delight in that word-and am I not entitled to be so? Man is the one who desires, woman the one who is desired. This is woman's entire but decisive advantage. Through his passion nature has given man into woman's hands, and the woman who does not know how to make him her subject, her slave, her toy, and how to betray him with a smile in the end is not wise."

"Exactly your principles," I interrupted angrily.

"They are based on the experience of thousands of years," she replied ironically, while her white fingers played over the dark fur. "The more devoted a woman shows herself, the sooner the man sobers down and becomes domineering. The more cruelly she treats him and the more faithless she is, the worse she uses him, the more wantonly she plays with him, the less pity she shows him, by so much the more will she increase his desire, be loved, worshipped by him. So it has always been, since the time of Helen and Delilah, down to Catherine the Second and Lola Montez."

"I cannot deny," I said, "that nothing will attract a man more than the picture of a beautiful, passionate, cruel, and despotic woman who wantonly changes her favorites without scruple in accordance with her whim—"

"And in addition wears furs," exclaimed the divinity.

"What do you mean by that?"

"I know your predilection."

"Do you know," I interrupted, "that, since we last saw each other, you have grown very coquettish."

"In what way, may I ask?"

"In that there is no way of accentuating your white body to greater advantage than by these dark furs, and that—"

The divinity laughed.

"You are dreaming," she cried, "wake up!" and she clasped my arm with her marble-white hand. "Do wake up," she repeated raucously with the low register of her voice. I opened my eyes with difficulty.

I saw the hand which shook me, and suddenly it was brown as bronze; the voice was the thick alcoholic voice of my cossack servant who stood before me at his full height of nearly six feet.

"Do get up," continued the good fellow, "it is really disgraceful."

"What is disgraceful?"

"To fall asleep in your clothes and with a book besides." He snuffed the candles which had burned down, and picked up the volume which had fallen from my hand, "with a book by"—he looked at the title page— "by Hegel. Besides it is high time you were starting for Mr. Severin's who is expecting us for tea."

"A curious dream," said Severin when I had finished. He supported his arms on his knees, resting his face in his delicate, finely veined hands, and fell to pondering.

I knew that he wouldn't move for a long time, hardly even breathe. This actually happened, but I didn't consider his behavior as in any way remarkable. I had been on terms of close friendship with him for nearly three years, and gotten used to his peculiarities. For it cannot be denied that he was peculiar, although he wasn't quite the dangerous madman that the neighborhood, or indeed the entire district of Kolomea, considered him to be. I found his personality not only interesting—and that is why many also regarded me a bit mad—but to a degree sympathetic. For a Galician nobleman and land-owner, and considering his age—he was hardly over thirty—he displayed surprising sobriety, a certain seriousness, even pedantry. He lived according to a minutely elaborated, half-philosophical, half-practical system, like clock-work; not this alone, but also by the thermometer, barometer, aerometer, hydrometer, Hippocrates, Hufeland, Plato, Kant, Knigge, and Lord Chesterfield. But at times he had violent attacks of sudden passion, and gave the impression of being about to run with his head right through a wall. At such times every one preferred to get out of his way.

While he remained silent, the fire sang in the chimney and the large venerable samovar sang; and the ancient chair in which I sat rocking to and fro smoking my cigar, and the cricket in the old walls sang too. I let my eyes glide over the curious apparatus, skeletons of animals, stuffed birds, globes, plaster-casts, with which his room was heaped full, until by chance my glance remained fixed on a picture which I had seen often enough before. But to-day, under the reflected red glow of the fire, it made an indescribable impression on me.

It was a large oil painting, done in the robust full-bodied manner of the Belgian school. Its subject was strange enough.

A beautiful woman with a radiant smile upon her face, with abundant hair tied into a classical knot, on which white powder lay like a soft hoarfrost, was resting on an ottoman, supported on her left arm. She was nude in her dark furs. Her right hand played with a lash, while her bare foot rested carelessly on a man, lying before her like a slave, like a dog. In the sharply outlined, but well-formed linaments of this man lay brooding melancholy and passionate devotion; he looked up to her with the ecstatic burning eye of a martyr. This man, the footstool for her feet, was Severin, but beardless, and, it seemed, some ten years younger.

"Venus in Furs," I cried, pointing to the picture. "That is the way I saw her in my dream."

"I, too," said Severin, "only I dreamed my dream with open eyes."

"Indeed?"

"It is a tiresome story."

"Your picture apparently suggested my dream," I continued. "But do tell me what it means. I can imagine that it played a role in your life, and perhaps a very decisive one. But the details I can only get from you."

"Look at its counterpart," replied my strange friend, without heeding my question.

The counterpart was an excellent copy of Titian's well-known "Venus with the Mirror" in the Dresden Gallery.

"And what is the significance?"

Severin rose and pointed with his finger at the fur with which
Titian garbed his goddess of love.

"It, too, is a 'Venus in Furs,'" he said with a slight smile. "I don't believe that the old Venetian had any secondary intention. He simply painted the portrait of some aristocratic Mesalina, and was tactful enough to let Cupid hold the mirror in which she tests her majestic allure with cold satisfaction. He looks as though his task were becoming burdensome enough. The picture is painted flattery. Later an 'expert' in the Rococo period baptized the lady with the name of Venus. The furs of the despot in which Titian's fair model wrapped herself, probably more for fear of a cold than out of modesty, have become a symbol of the tyranny and cruelty that constitute woman's essence and her beauty.

"But enough of that. The picture, as it now exists, is a bitter satire on our love. Venus in this abstract North, in this icy Christian world, has to creep into huge black furs so as not to catch cold—"

Severin laughed, and lighted a fresh cigarette.

Just then the door opened and an attractive, stoutish, blonde girl entered. She had wise, kindly eyes, was dressed in black silk, and brought us cold meat and eggs with our tea. Severin took one of the latter, and decapitated it with his knife.

"Didn't I tell you that I want them soft-boiled?" he cried with a violence that made the young woman tremble.

"But my dear Sevtchu—" she said timidly.

"Sevtchu, nothing," he yelled, "you are to obey, obey, do you understand?" and he tore the kantchuk [Footnote: A long whip with a short handle.] which was hanging beside the weapons from its hook.

The woman fled from the chamber quickly and timidly like a doe.

"Just wait, I'll get you yet," he called after her.

"But Severin," I said placing my hand on his arm, "how can you treat a pretty young woman thus?"

"Look at the woman," he replied, blinking humorously with his eyes. "Had I flattered her, she would have cast the noose around my neck, but now, when I bring her up with the kantchuk, she adores me."

"Nonsense!"

"Nonsense, nothing, that is the way you have to break in women."

"Well, if you like it, live like a pasha in your harem, but don't lay down theories for me—"

"Why not," he said animatedly. "Goethe's 'you must be hammer or anvil' is absolutely appropriate to the relation between man and woman. Didn't Lady Venus in your dream prove that to you? Woman's power lies in man's passion, and she knows how to use it, if man doesn't understand himself. He has only one choice: to be the tyrant over or the slave of woman. As soon as he gives in, his neck is under the yoke, and the lash will soon fall upon him."

"Strange maxims!"

"Not maxims, but experiences," he replied, nodding his head, "I have actually felt the lash. I am cured. Do you care to know how?"

He rose, and got a small manuscript from his massive desk, and put it in front of me.

"You have already asked about the picture. I have long owed you an explanation. Here—read!"

Severin sat down by the chimney with his back toward me, and seemed to dream with open eyes. Silence had fallen again, and again the fire sang in the chimney, and the samovar and the cricket in the old walls. I opened the manuscript and read:

CONFESSIONS OF A SUPERSENSUAL MAN.

The margin of the manuscript bore as motto a variation of the well-known lines from Faust:

   "Thou supersensual sensual wooer
   A woman leads you by the nose."
   —MEPHISTOPHELES.

I turned the title-page and read: "What follows has been compiled from my diary of that period, because it is impossible ever frankly to write of one's past, but in this way everything retains its fresh colors, the colors of the present."

Gogol, the Russian Moliere, says—where? well, somewhere—"the real comic muse is the one under whose laughing mask tears roll down."

A wonderful saying.

So I have a very curious feeling as I am writing all this down. The atmosphere seems filled with a stimulating fragrance of flowers, which overcomes me and gives me a headache. The smoke of the fireplace curls and condenses into figures, small gray-bearded kokolds that mockingly point their finger at me. Chubby-cheeked cupids ride on the arms of my chair and on my knees. I have to smile involuntarily, even laugh aloud, as I am writing down my adventures. Yet I am not writing with ordinary ink, but with red blood that drips from my heart. All its wounds long scarred over have opened and it throbs and hurts, and now and then a tear falls on the paper.

The days creep along sluggishly in the little Carpathian health-resort. You see no one, and no one sees you. It is boring enough to write idyls. I would have leisure here to supply a whole gallery of paintings, furnish a theater with new pieces for an entire season, a dozen virtuosos with concertos, trios, and duos, but—what am I saying—the upshot of it all is that I don't do much more than to stretch the canvas, smooth the bow, line the scores. For I am—no false modesty, Friend Severin; you can lie to others, but you don't quite succeed any longer in lying to yourself—I am nothing but a dilettante, a dilettante in painting, in poetry, in music, and several other of the so-called unprofitable arts, which, however, at present secure for their