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46 pages 1 hour read

Leopold von Sacher-Masoch

Venus in Furs

Fiction | Novel | Adult | Published in 1870

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Pages 4-38Chapter Summaries & Analyses

Pages 4-10 Summary

The novel opens with a quote from the Bible’s Book of Judith, noting how God led the Assyrian general Holofernes into the hands of a woman, Judith, who then killed him. The narrator sits with the goddess Venus, dressed in furs, noting her stony eyes and voice. The two debate love and have sex. Venus tells the narrator he is “cold,” while the narrator calls Venus “cruel.” The narrator says sex is a mutual subjugation, and whoever fails to subjugate will be punished by the other.

Venus says women are expected to be subjugated to men and the only pursuit a woman should have is the pursuit of pleasure. Venus criticizes people in the “North” for marrying into loveless relationships, while the narrator insists marriage is mutually beneficial. Venus comments that rigid Northerners still worship “pagan” passion and love, but they then feel the need for penance, adding that no one should be ashamed of their passion. The narrator calls Venus “coquettish,” and Venus notes the narrator’s love of furs, telling the narrator he is dreaming.

The narrator’s servant wakes him and comments on the book the narrator was reading by Hegel. The narrator visits his friend Severin, who is a notable figure in Kolomea, Ukraine, and tells him about the dream. While Severin ponders the dream, the narrator notes Severin’s painting of a woman in furs, carelessly whipping a man at her feet, noticing the passion and despair in the man’s eyes. The narrator says the painting inspired his dream, and Severin points to Titian’s Venus with a Mirror, noting Venus’s furs and commenting that the furs are a symbol of women’s cruelty.

A serving woman enters with eggs, and Severin threatens to beat her with a whip, telling the narrator men must either be tyrants over women or “slaves” under them, quoting from Goethe. Severin gives the narrator a manuscript he wrote entitled Confessions of a Supersensual Man.

Pages 10-16 Summary

In the manuscript, Severin vacations in the Carpathian Mountains in an inn run by Madame Tartakovska. A beautiful young widow from Lemberg also stays at the inn, though Severin has not met her.

Severin thinks of himself as a dilletante in everything, including poetry, art, and love. He becomes obsessed with a statue he assumes to be of Venus in a garden, and he purchases Titian’s Venus with a Mirror, calling it Venus in Furs and writing poetry by Goethe on the back. Severin fantasizes about being dominated by a woman, thinking of Holofernes and Judith or Samson and Delilah, both men betrayed by women.

By the statue, Severin sees a real woman and runs, recognizing her the next day as the widow. Severin lends the widow some books through Madame Tartakovska, realizing too late that Venus in Furs is in one of the books. Severin hears the widow laugh and wonders if she is laughing at him.

At night, Severin finds the statue of the Venus draped in furs and panics, finding the Venus come to life as a woman on a bench wearing furs. He flees to the inn, calling himself a donkey, and the Venus follows him, laughing.

Pages 16-21 Summary

Severin meets the widow outside one morning, noting her red hair and green eyes that are like precious stones. Her name is Wanda von Dunajew, and Severin says she is his Venus. Wanda laughs at Severin, explaining how amused she was by his picture and poem in the book.

They discuss the nature of sexuality. Wanda explains that she thinks pleasure is all that matters, criticizing the modern, Christian perspective on love as sexless and eternal. She romanticizes the Greeks, explaining how she read Greek classics as a child; she thinks the pure, unadulterated passion of gods and goddesses is superior to rigid social norms and conventions.

Severin tries to disagree, but he is enchanted by Wanda, calling her “Venus” and noting that she would need enslaved people to do her bidding. Wanda says she has a large fur to trap Severin and asks him if he wants to be her “slave.” He says there is no equality in love, adding that he needs a woman to take power over him without “nagging.” Severin confesses he is still afraid of Wanda. Severin says he and Wanda spend every day together, and he imagines her as various Greek figures, dreaming of painting her portrait and giving her more furs.

Pages 21-28 Summary

Severin writes a poem titled “Venus in Furs,” including the first stanza in his manuscript in which he professes to be Wanda’s “slave.” In the garden, Severin kisses Wanda, then takes off her slipper to kiss her foot, but Wanda flees.

Later, Wanda calls Severin, and they discuss their feelings for each other. Severin says he is obsessed with and in love with Wanda. He asks her to marry him. Wanda says Severin is interesting and that she cares for him, but she is unsure if her feelings would last more than two months. Severin is offended, and Wanda explains that she needs a man who can dominate her entirely, not a man who kneels at her feet.

Severin kneels at her feet, saying he wants either an entirely simple, faithful woman to marry and live with, or he wants all the pain and misfortune of loving a goddess. Severin tells Wanda to choose whether to marry him or make him her “slave,” and she chooses to make him her “slave.” Wanda says they will live the next year as though they were married, deciding whether or not to marry at the end of the year. Severin says he is like the martyrs who sought out suffering, and Wanda cautions Severin to avoid becoming a martyr to a woman.

Pages 28-38 Summary

Severin tells Wanda about his childhood, including how he loved literature and art, avoiding physical beauty as something vulgar. He worshipped a small statue of Venus, kissed it, and dreamed of it coming to life and punishing him. When a maid kissed him, he shunned her entirely. His aunt, Countess Sobol, who wore furs, once tied him down and whipped him. This act of whipping made him realize his “supersensuality”—his excessive feeling for beauty.

He then attended university, studying everything he could. He still visited his aunt and worshipped her, lying at her feet. After an affair with an upper-class woman, who left Severin for another man, he swore off virtuous love, desiring a woman who could be honest about her infidelities. Wanda enjoys Severin’s story, saying he could corrupt a woman entirely.

Wanda invites Severin to her room wearing furs, and they sit by the fire. Severin explains that furs produce electricity, which makes them exciting. He claims that all strong women he sees in history are always portrayed in furs, embodying his ideal of a dominating woman. Wanda does not think she is such a woman, but Severin repeats his desire: that Wanda dominate him rather than leave him, becoming a demon if she cannot be a faithful wife. Wanda notes that Severin might not like true domination. She hints that she is being corrupted by Severin’s desires, making her want to dominate him. Wanda confesses she loves Severin more than any other man.

Wanda brings Severin to a shop where she buys whips and collars. They part ways, and Severin finds Wanda exiting a furrier’s. Wanda confirms that Severin wants her to mistreat him, confessing that she feels a desire to hurt him. Severin journeys the mountains to calm down, and Wanda comes to his room after his return. She is dressed in furs. She whips him, complaining that they are only acting. Severin tells her to hurt him earnestly, and she does, commanding him to be silent and stay on his knees. Wanda starts to enjoy it, then she leaves.

Pages 4-38 Analysis

The novella opens with a framing device, a narrative technique in which the primary narrative or narratives exist within a separate story. In Venus in Furs, this device is Severin’s manuscript, which he gives to the narrator following the narrator’s dream. The framing of Severin’s story is crucial in distinguishing between fantasy and reality, as Severin’s experience mirrors the narrator’s dream and Severin’s own fantasies. By presenting the painting of Severin with Wanda’s foot on him as ostensible proof of their relationship, Severin implies that his manuscript is a true account of that particular affair.

Both Severin and the narrator conceive of relationships as a power struggle, in which one party must dominate and the other must submit. The narrator’s belief in the struggle between dominance and submission is first introduced in his dream, wherein he tells Venus, “You are a divine woman, but nevertheless a woman, and like every woman cruel in love” (6, emphasis added). The misogyny of the narrator’s comment lies in his characterization of all women as sadistic, but this statement introduces the theme of The Psychological Negotiation of Power and Submission, as the narrator implicitly notes Venus’s desire to dominate him. Severin supports the narrator’s power-driven view of heteronormative relationships when, after hitting his maid, he tells the narrator, “Had I flattered her, she would have cast the noose around my neck, but now, when I bring her up with the kantchuk, she adores me” (10). Thus, both Severin and the narrator believe that men must use violence in negotiating their position in a relationship, asserting that if they do not, the woman they are with will destroy them. This fundamental negotiation between masculinity and femininity, power and submission, and love and contempt forms a critical conflict throughout the narrative.

The opening section also introduces The Influence of Societal Norms on Sexual Behavior by creating a contrast between Christian norms of morality and the norms the characters attribute to classical Greco-Roman civilization. The opening sections contain various important allusions, such as the biblical allusions to Judith and Holofernes and Samson and Delilah, and the invocations of Greco-Roman religion through the figure of Venus, the Roman goddess of love. The biblical references reflect a sense of divine judgment and Christian morality, while Venus embodies what Severin and Wanda refer to as “Olympian” pleasure, which introduces the “master”/“slave” dynamic that both characters view as objective truth. Similarly, Wanda says that, in nature, “there is only the love of the heroic age, ‘when gods and goddesses loved’” (18), referring to Greco-Roman mythology in which gods and goddesses would seduce each other and mortals without regard for morality or ethics. Christianity, for Wanda, “has always had for [her] the element of the monstrous, brought something alien and hostile into nature and its innocent instincts” (18, emphasis added). She believes that Christian morals, such as the advocation for sexual chastity and guilt, stifle human sexual desire.

This contrast between Greco-Roman norms and Christian morality in turn introduces The Exploration of Sexual Power Dynamics that will be central to Severin and Wanda’s relationship. Since Wanda rejects Christian ideals of sexual restraint, preferring the instantaneous lust of the Greco-Roman pantheon, she is willing to try Severin’s experiment rooted in a “master”/“slave” dynamic. However, their dynamic is complicated by vestiges of Severin’s more Christian attitude toward sex and love, in which he sees women as a binary of either total fidelity or complete chaos. This tension is reflected in Severin’s anxiety concerning Wanda’s devotion to him, with him insisting that he become her “slave” only on the explicit condition that she never leave him. His biggest fear is that Wanda will leave him for another man, as his former girlfriend did. Severin’s emphasis on monogamy thus reflects a lingering Christian influence on his ideas about relationships, which Wanda is not amused by, although she expresses a desire to be possessed and dominated by a strong man.

As Wanda explores her sexuality at Severin’s prompting, her own internal conflict between sexual power and societal norms manifests in her arousal at hurting Severin. At first, she is unwilling to be the dominant sexual partner, noting how it is not natural for her. However, after whipping Severin with the help of her servants, she tells Severin, “You have corrupted my imagination and inflamed my blood. I am beginning to like the things you speak of” (34). Explicitly, Wanda sees Severin’s masochism, or sexual pleasure from receiving pain, as “deviant” or socially aberrant, which implies that her role as the dominant partner is complicit in this deviance. As she continues to explore her own ability to be the dominating partner in the bedroom, she begins to enjoy herself, which she sees as a “corruption” of her prior desire to be dominated by men.

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