Venus In Furs is a novella written by Leopold von Sacher-Masoch and published in 1870. Because the semi-autobiographical story is about a young man, Severin von Kusiemski, who persuades a beautiful woman, Wanda von Dunajew (her real-life counterpart having been Sacher-Masoch’s mistress, Baroness Fanny Pistor), to dominate, whip, humiliate, and enslave him, we derive the word masochism from its author…thanks to Richard von Krafft-Ebing in his seminal text, Psychopathia Sexualis.

Though the novella was originally meant to be part of an unfinished cycle of stories called The Testament of Cain, Venus In Furs is by far Sacher-Masoch’s most famous work, and it is one of the few of his writings to be translated into English.

Here are some quotes:

“Is there any greater cruelty for the lover than the beloved woman’s infidelity?” –narrator of framing story (page 4)

‘”And as a rule it is the man who feels the woman’s foot,” cried Madam Venus with exuberant scorn…’ (page 5)

“Yes, I am cruel–since you take so much pleasure in that word–and am I not entitled to be cruel? Man desires, woman is desired. That is woman’s entire but decisive advantage.” –‘Madame Venus,’ the talking statue in the narrator’s dream (pages 5-6)

“Woman’s power lies in Man’s passion, and she knows how to make use of it if man isn’t careful. His only choice is to be woman’s tyrant or slave.” –Severin, to the narrator (page 10)

‘…my beloved was made of stone…a stone statue of Venus…This Venus was the most beautiful woman I had ever seen.’ –Severin (page 12)

‘Enough: this Venus was beautiful, and I loved her as passionately, as morbidly and profoundly, as insanely as a man can love only a woman who responds to his love with an eternally consistent, eternally calm stone smile. Yes, I literally worshiped her.’ –Severin, of his Venus statue (page 12)

“Nature knows of no permanence in the male-female relationship.” –Wanda (page 19)

‘My love was like a profound, a bottomless abyss, into which I kept sinking deeper and deeper, from which nothing could save me.’ –Severin (page 27)

‘Cold shivers ran down my spine. I looked at her: she stood before me, so solid and self-assured, and her eyes had a cold glint.’ –Severin, of Wanda (page 28)

“…the greatest passions…arise from opposites. We are such opposites, almost hostile to each other. That explains this love of mine, which is part hatred, part fear. In such a relationship, only one person can be the hammer, the other the anvil. I want to be the anvil. I can’t be happy if I look down on my beloved. I want to be able to worship a woman, and I can do so only if she is cruel to me.” –Severin, to Wanda (page 29)

“…sensuality now became a sort of culture in my imagination, and I swore not to squander its holy sensations on an ordinary creature but to save them for an ideal woman–if possible, the Goddess of Love herself.” –Severin (page 32)

“In my mind I always pictured a beautiful female ideal…” –Severin (page 33)

“So a woman wearing fur,” cried Wanda, “is nothing but a big cat…?” (page 35)

“I saw sensuality as sacred, indeed the only sacredness. I saw woman and her beauty as divine since her calling is the most important task of existence: the propagation of the species.” –Severin (page 36)

“Yes–you’ve aroused my most cherished fantasy.” –Severin, to Wanda (page 37)

‘”I’m afraid I’ve already found my ideal!” I cried and pressed my hot face into her lap.’ –Severin, to Wanda (page 37)

“You’ve corrupted my imagination…” –Wanda, to Severin

“Women are neither as good as their admirers and defenders would have it nor as bad as their enemies make them out to be.” –Wanda (page 47)

‘Wanda…was so kind, so intimate, so full of grace.’ –Severin (page 48)

“A woman’s infidelity is certainly a painful stimulus, the supreme voluptuousness.” –Severin, to Wanda (page 49)

“You may always address me as ‘Mistress,’ do you understand?” –Wanda, to Severin (page 60)

‘…from time to time I heard our Mistress enjoying herself, surrounded by admirers…’ –Severin (page 77)

‘Venus in Furs was jealous of her slave. She tore the whip from its nail and struck me across the face. Next she summoned the black maidservants, and had them tie me up and drag me down to the cellar, where they threw me into a dark, dank subterranean vault–a bona fide dungeon cell.’ –Severin (page 84)

‘I felt myself starting to hate that woman.’ –Severin, of Wanda (page 85)

‘…I saw that she was wearing only the fur, and I was terrified–I don’t know why–as terrified as a condemned man who knows he is heading toward the scaffold, yet starts to tremble the moment he sees it.’ –Severin, of half-naked Wanda (page 89)

‘…Wanda threw off her fur coat in a single moment and stood before me like the Goddess in the Tribuna.

‘At that instant, she looked so chaste, so holy in her uncloaked beauty that I knelt before her as I had knelt before the Goddess, and I pressed my lips devoutly to her foot.’ –Severin (page 90)

‘He was a handsome man, by God. No, more: he was a man such as I had never seen in the flesh. He stands in the Belvedere, hewn in marble, with the same slender and yet iron muscles, the same face, the same rippling curls.’ –Severin, of Alexis Papadopolis, his rival for Wanda’s love (page 96)

‘What I felt was fear–a fear of losing the woman whom I loved almost fanatically; and this fear was so violent, so crushing that I suddenly burst out sobbing like a child.’ –Severin (page 101)

“You know what I am,” she retorted nastily. “I’m a woman of stone, Venus in Furs, your ideal–just kneel and worship me.” –Wanda, to Severin (page 103)

“The moral is that I was an ass.” –Severin, speaking to the narrator (page 119)

“The moral is that woman, as Nature has created her and as she is currently reared by man, is his enemy and can be only his slave or his despot, but never his companion. She will be able to become his companion only when she has the same rights as he, when she is his equal in education and work.” –Severin (page 119)

The story begins with a framing device involving the original narrator telling Severin about a dream he’s had of conversing with a living statue of Venus, who has a huge fur wrapped around her marble body (page 3).

This notion of being infatuated with the statues of Venus is a motif recurring throughout the novella, for a man’s willful enslavement to a woman is based on his pagan worship of her (as he sees it) divine beauty.

This beauty is carved into immovable stone: cold, inflexible, hard, and therefore cruel. The immovability of the stone also suggests permanence; combine this unmoving, unchanging permanence with beauty, we have ourselves an ideal.

The notion of ideal feminine beauty is also a recurring theme in the novella. Recall Goethe‘s words: “The Eternal Feminine draws us on high.” Beauty on the outside is seen as a symbol of beauty on the inside…regardless of how unrealistic such ideals are.

Another classic work of art–a painting–has inspired Severin: Titian‘s Venus with Mirror, the goddess’s lower body wrapped in fur, apart from which she is naked. Both Severin and the narrator fetishize her in the fur.

In his paper, “Fetishism,” Freud pointed out that the fur fetish is based on desire for a woman’s pubic hair, a desire traced back to boys’ Oedipal desire for their mother, and their horror, upon seeing her genitals, at realizing she has no phallus. Camille Paglia, in Sexual Personae, believes that Venus In Furs supports Freud’s claim (Paglia, pages 258, 436).

As Freud himself observed: “…it is as though the last impression before the uncanny and traumatic one is retained as a fetish. Thus the foot or shoe owes its preference as a fetish–or a part of it–to the circumstances that the inquisitive boy peered at the woman’s genitals from below, from her legs up; fur and velvet–as has long been suspected–are a fixation of the sight of the pubic hair, which should have been followed by the longed-for sight of the female member; pieces of underclothing, which are so often chosen as a fetish, crystallize the moment of undressing, the last moment in which the woman could still be regarded as phallic.” (Freud, pages 354-355)

If Freud’s explanation seems far-fetched, consider Jacques Lacan‘s more metaphorical version. The mother’s lack of a phallus is, for Lacan, connected with the dissolution of the Oedipus complex and the father’s prohibition against a boy’s having of his mother; the boy cannot be the phallus that his mother desires, because his father won’t allow it. Hence, his father has symbolically castrated him. From this lack–manque–comes one’s desire.

Since a boy can’t have his mother, he must look elsewhere to gratify his unfulfillable desire, the objet petit a, a substitute for the forbidden mother that, in this story, Severin and the narrator can attempt to replace with the fur fetish and the Venus ideal. [For a more thorough explanation of such psychoanalytic concepts as those of Lacan, look here.]

Freud’s thoughts on fetishism seem to anticipate Lacan’s ideas about manque and the objet petit a in this passage: “In the conflict between the weight of the unwelcome perception and the force of his counter-wish, a compromise has been reached, as is only possible under the dominance of the unconscious laws of thought–the primary processes. Yes, in his mind the woman has got a penis, in spite of everything; but this penis is no longer the same as it was before. Something else has taken its place, has been appointed its substitute, as it were, and now inherits the interest which was formerly directed to its predecessor…We can now see what the fetish achieves and what it is that maintains it. It remains a token of triumph over the threat of castration and a protection against it.” (Freud, page 354)

That Titian’s painting has the fur covering Venus’ lower half further supports the symbolic association of the fur with her pubic hair. Cupid, Venus’ son, holds her mirror: the Goddess of Love and Beauty is the Mother.

Now we can see the origin of Severin’s desire to be dominated by a beautiful woman: he has an unresolved Oedipus complex, transferred onto Wanda. She symbolizes his mother, who in his unconscious has been split into Melanie Klein‘s “good mother”–his idealized parental imago whose beauty he desires to enjoy (hence, the furs)–and the “bad mother” who punishes him and is cruel to him.

Freud noted how a spanking can give erotic pleasure to a child: “Ever since Jean Jacques Rousseau‘s Confessions, it has been well known to all educationists that the painful stimulation of the skin of the buttocks is one of the erotogenic roots of the passive instinct of cruelty (masochism).” (Freud, page 111)

Severin, as a boy, must have enjoyed getting swats on his little buttocks from the hand of his pretty mama. Little is said in the novella about his relationship with his mother; the lack of any mention of his (as I suspect) shameful desires for her can easily be attributed to repression. Instead, Severin freely admits to desiring his beautiful but violent aunt–a clear displacing of his Oedipal desires from his mother to his aunt! (pages 32-34)

To return to the beginning of the novella, the narrator is woken from his dream by a hand “as brown as bronze” (page 6), suggesting another hard, cold statue, this time one of a man, the narrator’s “Cossack,” who stands “at his full height of almost six feet.” (page 6)

The Cossack tells the narrator that he must hurry and meet up with Severin, and that “it’s a cryin’ shame” (page 6) that the narrator is asleep when he must be going. This scene is symbolic of the father making a boy give up on his Oedipal dream of having Mother (symbolized by the statue of Venus in the dream). The “bronze” statue of the Cossack represents the father bringing the narrator (symbolic of a boy experiencing the Oedipus complex) into the world of reality.

Severin’s story, of himself also leaving his dreams (page 117) and coming into reality, will help the narrator understand the need to wake up, too; for the narrator is an obvious double of Severin. In fact, both men can be seen to represent the universal Oedipal desirer, the common male masochist. Severin’s story is written in a manuscript called Confessions of a Suprasensual Man. (page 10)

Speaking of writing, it seems prophetic that the narrator has a book by Hegel lying next to him as he sleeps (page 7); in the explanatory notes at the end of my Penguin Classics English translation of Venus In Furs (page 125), it is justifiably assumed that the passage of Hegel that the narrator has been reading before dozing off is the master/slave dialectic section of The Phenomenology of Spirit. In this dialectic, the slave gradually comes to free himself of his master, as Severin will of Wanda, and–one hopes–the narrator will of his slavish devotion to Venus in furs, too.

Before Severin meets Wanda, he–just like the narrator–has been idolizing a stone statue of Venus; only instead of it being in his dreams, Severin’s is in a meadow, in a garden in the small wilderness where his house is. Because of this ideal, he has had very little interest in Wanda…but she will soon embody that ideal for him, in the flesh.

There are numerous passages in the novella that suggest that Severin’s love for Wanda is at least comparable to a boy’s Oedipal love for his mother. To give one example: after kissing her foot, which causes her to run away, leaving her slipper in his hand–because she feels he is “getting more and more indecent,” he returns it to her the next day and stands “in the corner like a child awaiting its punishment.” (page 24)

Another example, suggestive of his relationship with Wanda as being like that of a mother and her little boy, is on page 82: “She started caressing me, cuddling me, kissing me like a child.” Yet another example, symbolically suggestive of a boy’s Oedipal jealousy, is on page 101: “What I felt was fear–a fear of losing the woman whom I loved almost fanatically; and this fear was so violent, so crushing that I suddenly burst out sobbing like a child.”

He remembers having his idolatrous fetishes from as early as the cradle; he “can’t remember ever not having them.” His mother told him he was “suprasensual” from those earliest years, “suprasensual” being his word for describing his desires. (page 30)

I’ve already mentioned his aunt, to whom–I believe–he made his first transference of his repressed Oedipal desires for his mother. Countess Sobol “was a beautiful, majestic woman with a charming smile; but [Severin] hated her, for the family regarded her as a Messalina.” (page 32) This love/hate is the splitting of the mother into her good and bad aspects, but displaced onto Severin’s aunt.

Severin describes his aunt beating him with a switch while wearing “her fur-lined kazabaika.” After the beating, he “was forced to kneel down, thank her for the punishment, and kiss her hand.

“Now just look at the suprasensual fool! The switch held by the beautiful, voluptuous woman, who looked like an angry monarch in her fur jacket, first aroused my desire for women, and from then on my aunt seemed like the most attractive woman on God’s earth.” (page 32)

Since Severin is telling the story, and since he’s clearly addled by his strange passions, it’s easy to believe that he’s an unreliable narrator. (His having been “healed” of the sickness of his masochism at the end of the novella is also unconvincing, especially given how Sacher-Masoch himself, on whom Severin and the narrator are based, carried on with his acting-out of his female domination fantasies years after the publication of Venus In Furs, to the irritation of his wife at the time!) When he admits he incestuously desires his aunt, this could easily be a cover-up for a much more forbidden desire…to have, and be punished by, his mother!

Severin explains his fur fetish to Wanda by speaking of “the bewitching beneficial influence that cats exert on highly sensitive and intelligent people.” (page 35) Yes, Wanda, “a woman wearing fur…is nothing but a big cat.”

Sacher-Masoch uses the word Katzen, in italics in the original German. Now, Katze innocently just means cat, the -n being the plural ending. But consider the context behind the usage of the word in this “erotic” conversation. (page 35)

In English, “pussy” has been used to mean a woman’s genitals as early as the 1870s, and probably earlier. In French, chatte, the feminine for chat, has had the same meaning, so the European association between the feline and the vagina has existed for some time.

Furthermore, Katzen sounds dangerously close to Kätzchen, the German word for kitten, or…pussy! Given the strict censorship of any lewd ideas back in the prudish late 19th century (Recall the scandal surrounding Oscar Wilde’s Salome, in which the title character would baiser John the Baptist’s mouth!), one should find it easy to believe that Sacher-Masoch was using Katzen as a euphemism for the yoni.

So, in all of this, we see further support for Freud’s idea that furs and velvet are associated with a woman’s pubic hair. If by Katze, Sacher-Masoch had innocently meant cat, what would make Severin’s conversation with Wanda such an “erotic treatise”?

Almost immediately after this discussion of furs and Katzen, Severin mentions his reason for worshipping woman’s divine beauty: “her calling is…the propagation of the species.” (page 36) Human life emerges from female genitals, our uncanny sight of origin (a seeming wound where a phallus might have been, if only in unconscious phantasy). Woman is a goddess because she is a mother, the Giver of Life. Severin’s sexual passions, and his pagan devotions, are at their unconscious root, Oedipal.

He wants to be “the slave of a woman, a beautiful woman,” one who ties him up and whips him, and who kicks him “when she belongs to another man.” (page 37) How similar such a woman is to the Oedipally desired mother who punishes her naughty son with spankings, and who belongs to another man…the boy’s father. Having found his ideal in Wanda, Severin presses his “hot face into her lap” (page 37), an area of her body where he often brings his face (pages 44, 50, 112), where–were her clothes to be removed–her pubic hair would be found.

She tells him he is “mistaken” to “believe that everything lurking in [his] imagination is in [her] nature too” (page 38), but he won’t listen. For such opposites as those of love and hate are what give us our greatest passions (page 29).

His experience of Wanda, as mentioned above, is a transferred splitting of the Oedipally desired mother into absolute good and bad. He likes these extremes because of the arrest in his childhood sexual development, as we saw with his aunt. He won’t learn or grow out of these fixations, what Wilfred Bion would have called -K, a refusal to know; and for this reason, Severin will suffer terribly as the story goes on.

Wanda herself comments on his refusal to know her, to grow in knowledge (-K): “Don’t you know me yet, don’t you even want to know me?” she asks him (page 28). For Bion, another important element in the Oedipus myth is the urge to gain knowledge (K) at all costs, as the Theban king wishes to do in learning the identity of Laius‘ killer; yet Tiresias understands the danger of revealing this identity, and so in his reluctance to tell Oedipus, represents -K.

Severin’s refusal to grow in knowledge (-K) is linked to his repressed, unresolved Oedipus complex, transferred first onto his aunt, then onto Wanda. His growth in knowledge would involve a reintegration of the split good and bad aspects of his mother, a movement from the paranoid-schizoid position (PS) to the depressive position (D).

In the fetishizing of his feminine ideal, Severin stays split: he idolizes the good mother, displaced onto Wanda’s beauty when in the furs; and he suffers the cruelty of the bad mother, displaced onto Wanda when she whips, kicks, enslaves, and–worst of all–cheats on him.

She warns him of the danger of arousing her narcissism by worshipping her and allowing himself to be unconditionally enslaved by her; but he won’t listen (-K, reversible perspective). She would have him integrate the absolute good and bad of femininity: “Women are neither as good as their admirers and defenders would have it nor as bad as their enemies make them out to be…The best woman sinks momentarily into filth, the worst woman rises unexpectedly to great good deeds, putting her despisers to shame. No woman is so good or so evil as not to be capable at any moment of both the most diabolical and most divine, both the foulest and the purest thoughts, feelings, actions.” (page 47)

Still, Severin won’t listen, for he prefers those extreme opposites that arouse passion (page 29), his split state of PS, over the sane moderation of D. He wants to stay in thrall to his ideal imagining of her, which he “both reviled and worshiped.” (page 105)

Now, she agrees to his absurd fantasy of enslaving him while wearing furs, though secretly she plans to cure him of his desires by pushing his fantasy too far. In living out his fantasy of being dominated by a beautiful woman, Severin is experiencing what Lacan called jouissance, a transgressive overindulgence in pleasure, a surfeiting that leads to pain.

In jouissance, one willingly endures this pain as a kind of extension of the transgressive pleasure. This is a shifting past the biting head of the ouroboros (extreme pleasure) to experience the bitten tail (extreme pain). In other posts, I’ve written of the dialectical relationship between opposites as symbolized by the ouroboros’ head and tail, with the coiled length of its body representing every intermediate point on a circular continuum between those extreme opposites.

While Severin thinks Wanda is indulging his jouissance in going past the biting head over to the bitten tail, she’s actually taking him in the opposite direction. She’s taking him along the coiled length of the serpent, further and further away from the biting head of pleasure, and closer and closer to the bitten tail of pain…unbearable pain, unbearable even for him.

By being enslaved by his “Venus in furs,” with Wanda as the replacement for his mother, Severin is using Wanda as his objet petit a, the unattainable object-cause of his desire. He can’t have Mother, in her desirable aspect (i.e., the good mother, who like the Virgin Mary, is “full of grace”–page 48), or in her domineering aspect (the bad mother); so he has Wanda. But Wanda as a symbolic mother introduces a torture that even masochistic Severin can’t accept: the male rival as symbolic father.

In the BDSM community, consensual limits–as to how much pain, erotic humiliation, etc., is given and received–are strictly respected (through safewords, etc.). No such restraint is seen in Sacher-Masoch’s novella or in the Marquis de Sade‘s pornographic novels, in which victims (including children!) are not only tied up and whipped, but also raped, tortured, and murdered–the wealthy, powerful criminals responsible getting away scot-free.

Severin wants to experience the jealous fear of Wanda cuckolding him, but only within a reasonable limit–just the fear of it (page 49). She carries things way beyond his masochistic fantasies, though, in particular with a Greek named Alexis Papadopolis. (page 97)

Normally, the mother/infant relationship involves the mother soothing the baby’s fears, anxieties, and frustrations by absorbing and containing them in what Bion called maternal reverie, then sending those feelings back to the child in a form tolerable to it. This exchange of energy back and forth, through projective identification, is how a baby grows in K.

What Wanda, as Severin’s symbolic mother, is doing, however, is a negative version of this container/contained relationship (the mother, as container, being a symbolic yoni, and the baby’s contained anxieties being a symbolic phallus), so that instead of soothing Severin’s anguish, she is turning it into a nameless dread, driving him mad with jealousy.

In a nightmare, he dreams she has turned into “a huge polar bear drilling her claws into [his] body.” (page 68) He awakens to “hear her diabolical laughter.” This is an example of the negative container/contained relationship: in his dream, it is he who must contain her hostility, symbolized by her phallic claws digging yonic wounds into his skin. When he wakes in terror, she won’t contain his fear; instead, she laughs at it, making him feel worse.

The persecutory anxiety of his PS continues when he dreams of being condemned to death for having “murdered Wanda in a raging fit of jealousy.” (page 80) He is about to be beheaded, but instead of feeling the blade of an ax go beyond touching the back of his neck, he feels a slap. Wanda has woken him up with the slap, and she demands her fur.

She is free to make him feel jealous all she wants, but he is forbidden to treat her the same way. When he looks too long at Haydée, one of Wanda’s African female servants, he is put in “a bona fide dungeon cell.” (page 84)

Freud’s theory about the fur fetish as a covering of the female genitals, the shocking sight of a missing phallus [Freud, page 352: “the fetish is a substitute for the woman’s (the mother’s) penis that the little boy once believed in and–for reasons familiar to us–does not want to give up.”], seems apparent when Wanda is nude before Severin, except for the fur she’s wearing (page 89). He narrates, “I saw that she was wearing only the fur, and I was terrified–I don’t know why…”

He doesn’t know why he’s afraid (one would think he’d simply be aroused) because the root of his desire is a repressed wish to have his mother; but her lack of a phallus, as Lacan observed, is associated with Severin’s having been forbidden to have her, a forbidding from the Name of the Father…and the name of Severin’s symbolic father is Papadopolis.

Severin is afraid to know Wanda’s beauty (-K), so when she throws off her fur coat and stands before him in her glorious nakedness, he doesn’t think about his “Goddess” lustfully, but instead kneels before her, for “she looked so chaste, so holy in her uncloaked beauty” (page 90). Like the Virgin Mary, Wanda is “so full of grace.” (page 48) He would rather have a reaction formation to her, seeing the pure, good mother, than lust after the naked, whorish, bad (symbolic) mother.

Still, she arouses his jealousy with a number of male admirers, including a poor young painter (pages 91-95), and finally, the Greek! (pages 96-97) Severin finds Papadopolis especially threatening, for he knows he cannot compete with him to win Wanda’s love.

Severin feels “seized with that dreadful mortal terror, an inkling that this man could capture her, fascinate her, subjugate her.” Severin feels “inadequate next to his savage virility…envious, jealous.” (page 99) This is the same Oedipal jealousy a little boy feels when he knows only Daddy can have Mommy.

Severin wants to run away from Wanda…but he can’t.

Ultimately, she has him tied up, but Papadopolis is to whip him! (pages 114-117) Since Wanda and the Greek are Severin’s symbolic mother and father, the whipping symbolizes a re-experiencing of the childhood, Oedipal trauma of a boy being punished by his father for wanting his mother. The pain is too much for Severin; in his indignant rage, he demands to be untied. (page 115)

This descent into greater and greater suffering is like moving along the coiled length of the ouroboros’ body to reach the bitten tail of the most excruciating pain, then to reach a state of clarity, to understand the need to give up his Oedipal jouissance, to realize his objet petit a will never be fulfilled. It’s like “awakening from a dream.” (page 117)

After escaping from this ordeal, Severin goes home to help his old and ill father. Along with an unrealized wish to join the army, we can see in this father/son reunion a symbolized identification with the father, which is precisely what happens to a boy after the dissolution of the Oedipus complex.

Wanda, one day long after, writes a letter to Severin, explaining how the excesses of her cruelty were meant to cure him of his strange passion, to send him past the bitten tail of pain and over to the biting head of self-mastery, a return to peace of mind.

Severin, however, is not truly cured; he’s just switched from masochist to sadist. Now, he dominates women instead of submitting to them (page 9). As Freud, reversing Severin’s process, once said, “A sadist is always at the same time a masochist…” (Freud, page 73)

Severin’s submission to, and idolatry of, Wanda has really just been a reaction formation against his wish to rule over women. The Oedipus complex, properly understood, is a narcissistic trauma: a child’s love of his mother is a selfish wish to have her all to himself, never to share her. She, as his ideal, is a mirror reflecting his narcissism back to him as he experiences the Imaginary Order. In worshipping Wanda, Severin has merely been projecting his excessive self-love (disguised as self-abasement in his reaction formation with her) onto her.

Women are wise to resist men who want to worship them. Sacher-Masoch’s wife learned this the hard way. True equality of the sexes will come when men stop deifying women, which dialectically resolves into misogyny, a shift from the ouroboros’ biting head of worshipping women to the bitten tail of despising them. The apotheosis of Woman as Mother, as Giver of Life, easily shifts over to the notion that “a woman’s place is in the home.” Women should be seen as neither goddesses nor slaves, but as human beings.

Severin himself acknowledges that woman “will be able to become [man’s] companion only when she has the same rights as he, when she is his equal in education and work.” (page 119) Still, he bosses around “a pretty, buxom blonde…bringing [him and the narrator] cold meat and eggs for [their] tea.” (page 9) This is Bion’s -K and reversible perspective: Severin can understand the basic principle of supporting equality, but the specific premises–that one must do what one can to promote equality in one’s day-to-day life–are rejected.

Severin is thus still trapped in the duality of the paranoid-schizoid position (PS). He can bear dialectical opposites, Hegel’s thesis and negation, but not the sublation of those opposites, the ambivalent feeling of the depressive position (D). He is by no means cured.

Leopold von Sacher-Masoch, Venus In Furs, Penguin Classics, London, 1870

Sigmund Freud, 7. On Sexuality, The Pelican Freud Library, Penguin Books, London, 1987

Wilfred Bion, Elements of Psychoanalysis, Karnac, London, 1963