During his career as writer an endless number of works poured from Sacher-Masoch's pen. Many of these were works of ephemeral journalism8, and some of them unfortunately pure sensationalism, for economic necessity forced him to turn his pen to unworthy ends.
There is, however, a residue9 among his works which has a distinct literary and even greater psychological value. His principal literary ambition was never completely fulfilled. It was a somewhat programmatic plan to give a picture of contemporary life in all its various aspects and interrelations under the general title of the Heritage of Cain. This idea was probably derived10 from Balzac's Comedie Humaine. The whole was to be divided into six subdivisions with the general titles Love, Property, Money, The State, War, and Death. Each of these divisions in its turn consisted of six novels, of which the last was intended to summarize the author's conclusions and to present his solution for the problems set in the others.
This extensive plan remained unachieved, and only the first two parts, Love and Property, were completed. Of the other sections only fragments remain. The present novel, Venus in Furs, forms the fifth in the series, Love.
The best of Sacher-Masoch's work is characterized by a swift narration11 and a graphic12 representation of character and scene and a rich humor. The latter has made many of his shorter stories dealing13 with his native Galicia little masterpieces of local color.
There is, however, another element in his work which has caused his name to become as eponym for an entire series of phenomena14 at one end of the psycho-sexual scale. This gives his productions a peculiar15 psychological value, though it cannot be denied also a morbid16 tinge17 that makes them often repellent. However, it is well to remember that nature is neither good nor bad, neither altruistic18 nor egoistic, and that it operates through the human psyche19 as well as through crystals and plants and animals with the same inexorable laws.
Sacher-Masoch was the poet of the anomaly now generally known as masochism. By this is meant the desire on the part of the individual affected20 of desiring himself completely and unconditionally21 subject to the will of a person of the opposite sex, and being treated by this person as by a master, to be humiliated22, abused, and tormented23, even to the verge24 of death. This motive25 is treated in all its innumerable variations. As a creative artist Sacher-Masoch was, of course, on the quest for the absolute, and sometimes, when impulses in the human being assume an abnormal or exaggerated form, there is just for a moment a flash that gives a glimpse of the thing in itself.
If any defense26 were needed for the publication of work like Sacher-Masoch's it is well to remember that artists are the historians of the human soul and one might recall the wise and tolerant Montaigne's essay On the Duty of Historians where he says, "One may cover over secret actions, but to be silent on what all the world knows, and things which have had effects which are public and of so much consequence is an inexcusable defect."
And the curious interrelation between cruelty and sex, again and again, creeps into literature. Sacher-Masoch has not created anything new in this. He has simply taken an ancient motive and developed it frankly27 and consciously, until, it seems, there is nothing further to say on the subject. To the violent attacks which his books met he replied in a polemical work, über den1 Wert der Kritik.
It would be interesting to trace the masochistic tendency as it occurs throughout literature, but no more can be done than just to allude28 to a few instances. The theme recurs29 continually in the Confessions30 of Jean Jacques Rousseau; it explains the character of the chevalier in Prévost's Manon l'Escault. Scenes of this nature are found in Zola's Nana, in Thomas Otway's Venice Preserved, in Albert Juhelle's Les Pecheurs d'Hommes, in Dostojevski. In disguised and unrecognized form it constitutes the undercurrent of much of the sentimental32 literature of the present day, though in most cases the authors as well as the readers are unaware33 of the pathological elements out of which their characters are built.
In all these strange and troubled waters of the human spirit one might wish for something of the serene34 and simple attitude of the ancient world. Laurent Tailhade has an admirable passage in his Platres et Marbres, which is well worth reproducing in this connection:
"Toutefois, les Hellènes, dans, leurs cités de lumière, de douceur et d'harmonie, avaient une indulgence qu'on peut nommer scientifique pour les troubles amoureux de l'esprit. S'ils ne regardaient pas l'aliéné comme en proie a la visitation d'un dieu (idée orientale et fataliste), du moins ils savaient que l'amour est une sorte d'envo?tement, une folie où se manifeste l'animosité des puissances cosmiques. Plus tard, le christianisme enveloppa les ames de ténèbres. Ce fut la grande nuit. L'église condamna tout35 ce qui lui par2?t neuf ou mena?ant pour les dogmes impla?able qui reduisaient le monde en esclavage."
Among Sacher-Masoch's works, Venus in Furs is one of the most typical and outstanding. In spite of melodramatic elements and other literary faults, it is unquestionably a sincere work, written without any idea of titillating36 morbid fancies. One feels that in the hero many subjective37 elements have been incorporated, which are a disadvantage to the work from the point of view of literature, but on the other hand raise the book beyond the sphere of art, pure and simple, and make it one of those appalling38 human documents which belong, part to science and part to psychology39. It is the confession31 of a deeply unhappy man who could not master his personal tragedy of existence, and so sought to unburden his soul in writing down the things he felt and experienced. The reader who will approach the book from this angle and who will honestly put aside moral prejudices and prepossessions will come away from the perusal40 of this book with a deeper understanding of this poor miserable41 soul of ours and a light will be cast into dark places that lie latent in all of us.
Sacher-Masoch's works have held an established position in European letters for something like half a century, and the author himself was made a chevalier of the Legion of Honor by the French Government in 1883, on the occasion of his literary jubilee42. When several years ago cheap reprints were brought out on the Continent and attempts were made by various guardians43 of morality—they exist in all countries —to have them suppressed, the judicial44 decisions were invariably against the plaintiff and in favor of the publisher. Are Americans children that they must be protected from books which any European school-boy can purchase whenever he wishes? However, such seems to be the case, and this translation, which has long been in preparation, consequently appears in a limited edition printed for subscribers only. In another connection Herbert Spencer once used these words: "The ultimate result of shielding men from the effects of folly45, is to fill the world with fools." They have a very pointed46 application in the case of a work like Venus in Furs.
F. S.
Atlantic City
April, 1921
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1 den | |
n.兽穴;秘密地方;安静的小房间,私室 | |
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4 pseudonym | |
n.假名,笔名 | |
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5 sensational | |
adj.使人感动的,非常好的,轰动的,耸人听闻的 | |
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6 memoirs | |
n.回忆录;回忆录传( mem,自oir的名词复数) | |
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7 controversy | |
n.争论,辩论,争吵 | |
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8 journalism | |
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9 residue | |
n.残余,剩余,残渣 | |
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10 derived | |
vi.起源;由来;衍生;导出v.得到( derive的过去式和过去分词 );(从…中)得到获得;源于;(从…中)提取 | |
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11 narration | |
n.讲述,叙述;故事;记叙体 | |
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12 graphic | |
adj.生动的,形象的,绘画的,文字的,图表的 | |
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13 dealing | |
n.经商方法,待人态度 | |
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14 phenomena | |
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15 peculiar | |
adj.古怪的,异常的;特殊的,特有的 | |
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16 morbid | |
adj.病的;致病的;病态的;可怕的 | |
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17 tinge | |
vt.(较淡)着色于,染色;使带有…气息;n.淡淡色彩,些微的气息 | |
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18 altruistic | |
adj.无私的,为他人着想的 | |
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19 psyche | |
n.精神;灵魂 | |
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20 affected | |
adj.不自然的,假装的 | |
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21 unconditionally | |
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22 humiliated | |
感到羞愧的 | |
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23 tormented | |
饱受折磨的 | |
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24 verge | |
n.边,边缘;v.接近,濒临 | |
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25 motive | |
n.动机,目的;adv.发动的,运动的 | |
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26 defense | |
n.防御,保卫;[pl.]防务工事;辩护,答辩 | |
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27 frankly | |
adv.坦白地,直率地;坦率地说 | |
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28 allude | |
v.提及,暗指 | |
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29 recurs | |
再发生,复发( recur的第三人称单数 ) | |
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30 confessions | |
n.承认( confession的名词复数 );自首;声明;(向神父的)忏悔 | |
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31 confession | |
n.自白,供认,承认 | |
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32 sentimental | |
adj.多愁善感的,感伤的 | |
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33 unaware | |
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34 serene | |
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35 tout | |
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36 titillating | |
adj.使人痒痒的; 使人激动的,令人兴奋的v.使觉得痒( titillate的现在分词 );逗引;激发;使高兴 | |
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37 subjective | |
a.主观(上)的,个人的 | |
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38 appalling | |
adj.骇人听闻的,令人震惊的,可怕的 | |
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39 psychology | |
n.心理,心理学,心理状态 | |
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40 perusal | |
n.细读,熟读;目测 | |
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41 miserable | |
adj.悲惨的,痛苦的;可怜的,糟糕的 | |
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42 jubilee | |
n.周年纪念;欢乐 | |
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43 guardians | |
监护人( guardian的名词复数 ); 保护者,维护者 | |
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44 judicial | |
adj.司法的,法庭的,审判的,明断的,公正的 | |
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45 folly | |
n.愚笨,愚蠢,蠢事,蠢行,傻话 | |
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46 pointed | |
adj.尖的,直截了当的 | |
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