| dc.description.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. | pl_PL |
