The Second Circle

In the present day of the novel's events - the English scholar Simone is causing a furore beyond the specialist world with her re-evaluation of a constellation that is not only prominent in literary history. It is thanks to her that we have the proof that Aurora-Wanda Sacher-Masoch, supposedly the primal mother as a dominatrix, played her role - obeying necessity - according to the stage directions of her supposedly submissive husband. Simone found her subject via a detour via James Joyce. In Ulysses, the Irish writer composed the married couple Leopold and Molly Bloom based on the Sacher-Masochs. Leopold Bloom is the prototype of the ridiculous man. The final soliloquium in Ulysses, in which Molly babbles on without stopping, is considered the pinnacle of female psychology. Simone is close to completing a general reckoning with this interpretation. She exposes the monologue as a conglomeration of clichés that primarily conveys male prejudices. We see her in her boss's office. She is just taking off her panties. Professor Goya is the master of languages. That is a historic title not only at the Landgrave Philip University in Ederthal. Philip's nickname, the Magnanimous, did not refer to a mild nature, but to great courage. Philip I was the chief armorer of the Reformation and played a key role in suppressing the peasant uprisings. Brecht said that the peasant uprisings were the greatest German misfortune because they happened too early. Our Landgrave did not get involved out of any particular affection for Luther's teachings. He used the Protestant sword to fight imperial-Catholic claims to parts of Hesse.

Simone lifts up her skirt and offers Goya her bottom. She has long since become a dangerous rival, we know that she wants to push Goya off the academic throne, but when she invites him so warmly to rub his cock in her crack, it looks as if she is subordinate to Goya in the structure of power. But Goya's appétit pantagruélique is now only a boastful gesture. His desire is hardly a match for a repas gargantuesque. See François Rabelais, Gargantua and Pantagruel. Goya's claim to air supremacy is no longer formulated as uninhibitedly and uninhibitedly as it was a few weeks ago. There is no doubt that he is losing his strength, and Simone will soon throw him to the Ederthal crocodiles to be eaten. Now she longs for the North Hessian demigod Cosmic Dick. She begs for his support and becomes so soft in her adoration that Goya enjoys the joys of a redeemer.

"Fuck me," Simone whimpers, and Goya answers, although he was not even addressed. Dick hears his creation and joins in. Simone and Dick melt in a French kiss, Simone tenderly strokes her master's shaft and he grants her a youthful cumshot while Goya rams her.

Four orgasms later, Simone sits at her desk and considers a position with Stefan Zweig.

Called to England by his friends, Erasmus of Rotterdam finds shelter with his extremely energetic friend Thomas More in London in 1509. The holder of important offices leads an exemplary existence and an open house. His closest surroundings resemble a future laboratory. In this sphere, the "joke" (Stefan Zweig) "In Praise of Folly" is created, first published in quarto format in 1511. "The unique and unrepeatable trick of this work is a brilliant mummery: Erasmus does not speak himself to say all the bitter truths that he thinks the powerful of this earth should tell, but instead he sends Stultitia, foolishness, to the podium so that she can praise herself. This creates an amusing qui pro quo."

Erasmus blocks the way to a clear classification. The question of who says what covers up the subversive reason for what is being said. The author protects himself from the Inquisition with incredible skill. Zweig recognizes a "sovereign art of masking." He speaks of a "core shot into the heart of the age, made with a completely loose, merely playful hand." The author shows his hero as a diagnostician who has become bitter and bitter before the "doors of the powerful," but who is untouched by any rebellious impulse.

In subsequent editions, Erasmus comments on the work. He describes actual and alleged intentions and explains that his "praise" as a whole "should be read as a pedagogical text" (Sandra Langereis).

The pamphlet hits a nerve. Many believers condemn the licentiousness of Renaissance clergy and demand a church reform according to the wording of the four Gospels. They oppose the "abuse of the relic trade and the nonsense of indulgences". Erasmus exposes the rulers without coming out of hiding. He pleads for a "renaissance of religion". In this way he becomes a mastermind of the Reformation. At the same time he fears a schism.We are only interested in Erasmus' ability to hide himself with words. He says things with impunity that no one else can dare to say. We dedicate this breviary to Erasmus of Rotterdam.