Chapter 4 Prologue - "You Ruined My Imagination"

"It has been proven in recent years that Zak Mosoke was not only a poet of sexual masochism but himself a victim of sexual perversion," Kraft-Ebbing said in Sexual Perversions, p. Written in version 12.Indeed, the death of Sack-Mossock in 1895 was followed by publications revealing his private life, including the 1901 book by Schlichtgerau, which used the Ke's private diaries, which were later lost. Wanda published hers in 1906, still angry that Sack-Mosock had abandoned her for a domineering woman, and also unhappy that Schlichtgeröh had revealed her married life.From these sources, we draw the conclusion that the fictional plot in the novel is only a portrayal of the author's private life, and of course there is embellishment in it.In fact it's important to keep in our minds that Sark-Morsoke's life and literature of the beauty are so similar that it's very problematic to distinguish reality from fiction.Kraft-Ebing attempts to shed light on this question from a liberal perspective (of course, "liberal" is not the right word here):

As men, we cannot disregard Zak-Morsoke's work just because he is not afflicted by illicit sexual relations.As a writer, as far as the impact and inherent merit of his work is concerned, Sark-Mosoke is deeply insulted.No matter how long it takes and whenever he removes sexual perversion from his work, he's a genius writer.In fact in that he would have achieved as much as a writer with a normal sense of sex can achieve. Apparently, Kraft-Ebbing felt that Mossock's masochistic tendencies seriously damaged his art, although he also realized that Mossock might lose some of it if it were removed reader.As Kraft-Ebbing was the first to realize, "The author's typical descriptions of the mental state of the pervert were derived from the author's abnormal behavior." It has to do with the author's perverse romantic tendencies—like being the slave of his wickedly seductively elegant dream lover.

Biographical research has revealed that Saunen's relationship with Wanda was similar to that of Sack-Mosok and a young widow, Fanny van Pister.Sark-Mosok played her servant Gregor, a Polish squire who traveled in a third-class train carriage when she traveled with her to Italy.And she sat in the first-class carriage, with the Slavic name "Princess Bogdanrov." In 1869, Saker-Mosok and Fanny van Piste signed a contract, many of which were in line with the The same appears in the novel, including the stipulation that the lady "undertakes to wear fur coats as often as possible, especially in times of cruelty to servants." A photograph from 1869 shows Fanny van Pister in fur Coat, Sark-Mosok knelt before her.However, if his life provides material for the novel, the novel in turn reproduces his life.He and his wife also signed a contract to be her servant: "I am honored to be the slave of Mrs. Wanda Van Dulaye. I obey her orders and accept the orders she imposes on me without complaint." Anything." "Mrs. Wanda Van Dulayer" was an imaginary name he had later adopted by his wife.Therefore, it is difficult for us to judge whether his marriage entered into his novel or his novel was originally a part of his marriage.

Presumably, the novel's decisive end, his brutal meeting with Wanda's Greek lover, is not even mentioned in the biography at all.In the novel, this final shame cured Savunin of his masochistic tendencies; in real life, Sark-Mosok was not cured, and spent the rest of his life entangled in his Venus and Venus lover of Greek Apollo.His wife, Wanda, declared that she had reluctantly accepted her husband's exhortations into the arms of another man. Just recovering from having a child in 1875, she was dismayed to discover that her husband had taken a keen interest in a gentleman's ad for a romantic companion at a Vienna press conference. "Wanda, we've got the Greeks!" he yelled, and when pictures showed "a handsome young man in an oriental costume," Zak-Mosok was "shocked" and kept yelling " Greeks! Greeks!" Almost waiting for Wanda to recover from childbirth, he asked Wanda to meet the stranger, and at the same time asked her to put on a new cloak "that was not trimmed with fringe but made of fur." The one with all the lace." Wanda complained, "That one is too heavy—I couldn't bear to wear it for a long time when I was strong and healthy—it weighed down my body. crushed shoulders.” leaves little room for us to question whether the image of the Greek reflects Sauunin’s homosexuality:

God, he is a handsome man.No, rather, he was a man of flesh and blood like I had never seen before.He is the Apollo of the Vatican Palace in Rome, with a figure like a marble statue, slender but steel-like muscles, the same face, and the same curly hair.What actually makes him especially handsome is that he doesn't have a beard; his pelvis is also narrower than the average man's, and he could easily be mistaken for a woman in men's clothing...the lines around his lips are strange, lion-like A few teeth were exposed in the lips, which immediately gave the face a feeling of cruelty——

Apollo is scourging Marysia... Now I understand why Cupid and the venerable Socrates remained virtuous before Alcibiades. Just as Sak-Mosok was sometimes reluctant to pursue homosexuality further, we should also consider what the healing that Sauunin experienced at the hands of the Greeks was really about.Throughout the author's life his quest for the "Greeks" was met with obstacles of every kind, even by an ardent admirer named Anatole.This man may or may not be Kim Ludwig of Bavaria.Just as Sak-Mosok felt compelled to deny his Judaism, he was visibly conflicted by his inability to sympathize with homosexuality.

In the novel, Sark-Mosok artistically expresses Savunin's fanatical and romantic fantasy, which is related to Venus and Apollo in classical mythology.And Venus and Apollo quoted the Venus of the Medici and the Apollo marble shape of the Vatican Palace Painting Gallery in Rome.In the novel, they are transformed into flesh and blood Wanda and the Greeks respectively.The image of Venus, from her first sneeze, seems to reign over the cruel side of human emotion, while Apollo represents to his devotees a figure that could not have been more dangerous.We can look at Sark-Mosoke's literary origins from the classicism of the 18th century.Winklemann sees Greek statues as incarnations of Apollo's "majestic Superman" in the Paintings of the Vatican Palace in Rome.And Goethe also believed that the beauty appeared in the same image in his "Voyage to Italy". 22 More directly, Sark-Mosock may have followed the writing style of nineteenth-century Romantic writers Joseph van Eichendorf or Prosper Merimee.The former makes Venus live a dangerous life in an ancient pagan temple in the novel "The Marble Statue".And the latter's novel "Venus of the Iller River" describes Venus as an evil figure who murders men when they underestimate her character.It is possible that Sark-Mosok also equated the slave of Venus with the character Tannhauser in Wagner's 1840 opera.There is even an intersection between his novel and Nietzsche's 1872 The Birth of Tragedy, which describes a conflict between the sun god Apollo and the wine god Dionysus in the ancient drama; Wanda of the Nas believers, she advocated pagan lasciviousness and opposed Christian abstinence.This gave us a hint for the theme that Nietzsche later explored in "The Genealogy of Morals".Indeed, Savunin considered himself a "suprasensationist," which may have something to do with the superhuman qualities that Nietzsche was interested in.

In 1967, the Velvet Metro rock band played Savunen's masochistic fantasies to a strange rhythm, and the song was called.This song is the title track on the famous Andy Warhol Banana Records.In the same year, the philosophical critic Gilles Deleuze explored the differences in writing style and technique between Sack-Mursock and Marques de Sade in an important article in the Review, opposing Confuse the two with the sadism-masochism issue.Deleuze emphasized the aesthetics of masochistic works of art, paid attention to artistic images, and relied on the arrangement of artistic scenes.The novel not only pays attention to the shaping of the characters, but also presents an oil painting or even a photograph of masochistic fantasies.In Deleuze's words, "Women become exciting when they are indistinguishable from a cold sculpture in the moonlight or from a painting in a dark room. The symbol for Venus is orange-red Hair, glamorous flesh, fur coats, mirrors, a mixture of coldness, cruelty, and sentimentality. The characters in Mosock's novels have the same cold quality as those in statues or paintings. They are art A copy of a work." 23 The protagonists in the novel have magical powers, which suggests that the novel may be a representative work of the "fantasy school", which was given by structural linguistics critic Tsvetan Todorov name.His concept of "fantasy school" explains the suspense between supernatural and fantasy, just like readers don't understand whether the protagonists of Sack-Morsoke's novels really have superpowers or they are just because they are too nervous to fantasize that they have superpowers Same.The notion of fantasy is especially useful when we evaluate a work, and it can be said that the novel dabbles in psychological fantasy.From this perspective, we can discern some of the literariness of Sack-Mosock's work that is amply expressed in the greatest works of the early 20th century.Such as Thomas Mann's "Death in Venice" or Arthur Heenichler's "Dream Things".The hero of the previous novel is the victim of a dangerous romantic fantasy, namely of a war between the false sun-god Apollo and the wine-god Dionysus.In the novel "Dream Things", dreams and fantasies seem to occupy the whole real life of the middle-class protagonist.

"Of all these illicit relationships, the most pervasive and high-profile are those who wish to torture their sexual partners and those who wish their sexual partners to torture themselves, what Kraft-Ebbing calls sadism and Sexual masochism," wrote Sigmund Freud in his groundbreaking 1905 book Three Little Stories from the Theory of Sex. 25 And it had been ten years since Sark-Mosoke's death.Freud never mentioned Sack-Mosock at all, as if the concept of Mosockism had not been inspired by Sack-Mosock literature.The purpose of Kraft-Ebbing in naming masochism after Zac Mosock was to generalize a series of such cases, especially those that shared the author's psychotic fantasies.In fact, it was Kraft-Ebbing who inspired it, not to mention that Sak-Mosok sometimes used Savunen himself as a case in point.

I sat on a footstool at the feet of the goddess and told her about my childhood. "Did these abnormal tendencies of yours show up at that time?" Wanda asked. "Yes, indeed. I don't even remember when these tendencies left me. As my mother later told me, I was a transsensory even in my cradle." Intrigued by his example, Wanda continued to ask, "How did you fall in love with fur?" Savunen replied, "I already told you, I have been like this since I was a child." And for the novel's part, it hilariously patiently proclaims that Savunin is cured.Indeed, Wanda, in her last letter to Savunin, insisted that she had been thinking about his treatment: "I hope my whipping has cured you. The treatment is brutal but effective." 27 The cure is probably the least convincing part of the novel, as is the one time Marques de Sade claims that he acquired virtue by demonstrating a deformed vice.It is clear that the main thrust of Sark-Mosok's work is to subtly satisfy himself, the protagonists of his novels, and even the satisfaction of readers, so it is impossible for anyone to believe that Saunin's case is to promote sexual perversion can be cured in this way.

In analyzing Freud's case, the narrative critic Dorrit Koha revealed his ability to distinguish between the imaginary and real elements of the patient's case. 28 Freud followed this distinction when adopting the general term Kraft-Ebbing's "sexual masochism," but he made no mention of Sark-Mosock or his literature at all. .Even when he tells an example of sadism in Three Little Stories of Sexual Theory, he prefers to cite the most famous and abstract case: "Since the publication of Jean-Jacques Rousseau, all intellectuals have known that butt skin Painful stimuli are one of the birthplaces of masochistic sexual impulses." 29 In "Three Little Stories of Sex Theory", Freud, the greatest Habsburg sex theorist, put "sexual masochism The concept of "is combined with the broader concept of "psychoanalysis".Zack-Mosock believed his sexuality was common, however, Kraft-Ebbing confirmed that such perversions were actually uncommon.Freud further pointed out: "When considering the dissemination tendency of this sexual orientation, we come to the conclusion that this sexual orientation originates from human sexual instinct, and normal sexual behavior is in the process of human sexual maturity as organ changes and developed as a result of psychic repression." He found that this pervasive perversion "arrives from the multiple forms of perverted tendencies in childhood," which he sometimes called "polymorphic perversions."30 Hence psychoanalysis The theory makes "sexual masochism" and "sexual sadism" have human instinct inheritance as their basic constituent factors. In the case of the werewolf (who happened to be a Russian), Freud explored the connection between masochism and sadism, castration, homosexuality, Christianity, and, of course, Oedipus; from the father, and masochistic tendencies from his own sexual masochism.” In The Economic Problem of Sexual Masochism, Freud discusses that although the pleasure principle makes sex Masochists may seem "unreasonable", but their impulses are closely related to the death instinct.In "A Whipped Child," Freud reiterated that "guilty is a constant factor in turning sadism into masochism," and he also explored that whipping fantasies seem to be associated with the oedipal plot of men and women related.For Freud, women whose sexual fantasies are bandaged and whipped arose from the primordial fantasies of being a girl 'I was whipped by my father (or I was doted on by my father)' which, in a roundabout way, may represent come out. 31 Thus, on the whole, Freud's conception of masochism clearly reflects both his intellectual insight and the cultural bias of psychoanalysis. Freud borrows from Kraft-Ebbing The term used psychoanalytic methods to study sexual masochism, explaining it as part of the "universal phenomenon of human sexual instinct." But at the same time he dismissed the importance of Sark-Mosoke. At the end of the novel, Savunin claims that he has been cured of his masochistic tendencies, and that from now on he is willing to submit to the whip; "Imagine the effect, our beautiful, slender, hysterical lady..." K-Mosok's ultimate goal is to let Sauning indulge himself, in the place of slender middle-class ladies with whips in hand, in Freud's hysterical female patients, whether stimulating them with sexual fantasies or letting them Crashed in fright.We cannot be mistaken for the fact that Sak-Mosoke saw the spectacle as merely comical, and did not take it as hysterical as seriously as Freud did at the end of the century.It was Sak-Morsoke's sense that was at work, and it was clear from the moment Venus sneezed that he was deviating from Kraft-Ebbing or Freudian psychology, sexuality and metamorphosis.The Testament of Cain is a large part of Sark-Mosoke's vast literary project.In the year of Sark-Mosock's death, the same year that Freud published his "Study on Hysteria," a Habsburg genius proudly proclaimed himself to be the same as Wolfgang Amadeus? Mozart had the same birthday: February 27.Whatever the differences among geniuses, we can say with certainty that Sak-Mozark is as joyful in fiction as Mozart is in music.Savunen was often content with the comical side of his position, even in a society with an ultra-cruel atmosphere, declaring, "My situation is so funny—if society hadn't treated me so miserable and looked down upon me, I might Laughing at yourself." Sark-Mosock took pleasure in romantic fantasies, though he was humiliated in them.And he communicated his pleasure to the perverted masses. "You stir up my most cherished fantasies," Savunin says to Wanda, but later Wanda makes her point on the subject: "You destroy my imagination and make my blood boil. I'm going to start enjoying it."33 More than a century after the author's death, and long after the dissolution of the Habsburg Monarchy where the author's literary life existed The allure of resistance and the subtlety of exciting everyone's fantasies to mess with everyone's imagination.