O kilku obliczach Erosa w prozie dekadentów rosyjskich

Abstract

Starting from the question of cultural value of eroticism, the author discusses the problem of modernistic fascination with dark sides of human sexuality, various deviations, satanic and mystical sex. Taking into consideration early Russian symbolists prose, the author regards Eros as a meaningful individual of decadent myth of love. She singles out his four faces: mythical Eros, naked Eros, devouring Eros, sacred Eros. The idea of metaphysical carnal love, looking on love as hostile and destructive demon and seeing in sexual intercourse the evocation of finalism in nature connected with Dionysian apologia of life reduces all the mentioned faces of Eros to common denominator. It is significant, that Russian modernists considered a woman particular, repulsive and at the same time fascinating source of Nature and device of instinct. That is why eroticism degrades lovers, and particularly men. As a delightful, deeply gratifying to senses, but at the same time vulgar feeling, it confirms Schopenhauers ontology of love, in accordance with which passion is an exploration of the destructive power devastating an individual. The decadents view their image of mysterious, dangerous and incomprehensible femininity in contrast of opposite sexes oi cosmological provenance. Mythological image of formidable influence of women on men in Sologub's and Briusovs prose resulted in all the symbolism of sex based on dramatic disruption between earth and cosmos (opposition of Eve and Lilith, animalic symbolism, unity of Eros and Thanatos). According to Russian symbolists nakedness also contains the prediction of the element that is derived from mythical consciousness. It implies degradation, annihilation and death. Literary image of feminine nakedness contains both positive (beauty of a goddess) and negative (animalic obscenity) features The motive of a demonic feminine creature devouring men is one of key motives of Russian prose of the turn of XIX/XX-th century. Briusovs and Sologub's demonic heroine looks on her sexual partner only as a device of carnal fulfilment (the image of a woman as a praying mantis-vampire-demon). Carnal act associated with religious sacrifice in Russian decadent prose becomes the proof of the thesis that continuity of existence is manifested in death. That is why, in literary description of orgy, delight always coexists with crime (the motive of orgy at Satan's temple celebrated aiter the fashion of Dionysian Bacchanalia or mediaeval óblack Mass”). In this way the idea of love as happiness in modernistic system of metaphysics of love is replaced by the idea of love as suffering.