The study of the multidimensional relations of a person with evil proves that a person lives in an apparent world, and when he thinks that he is aware of the nature of some phenomenon, he actually sees only its top.
Attempts to define and analyze morality with the help of general concepts and abstractions show how language can hide the true essence of moral phenomena. In this book, the faces and masks of evil are classified into categories and functions, but this is not just a list of forms of evil. Such a classification has a didactic task. According to the words, the phenomena adjoin each other more closely than described here, and the boundaries between them are not so clear. The description of the faces and masks of evil allows us to understand this concept. Evil is not a metaphysical substance and not a unity, it finds a hiding place in different places. Christian culture has taught us to see in him the unity generated by the deeds and sins of one devil. But evil has many faces. He has many faces and many masks.
You cannot talk about evil or flirt with it without thinking about what you are dealing with. The discourse of evil easily leads to misunderstandings. Even outstanding free thinkers, poets and writers, starting from Nietzsche and Baudelaire, became, at least verbally, hostages of Christian culture. And yet they intuitively realized the essence of evil.
Under the auspices of highly artistic literature and art, a person can descend beyond the limits of language, into the world of shadows, moral hell, in order to know the depths of malice. Art and literature can freely talk about the essence of evil without harming the author of the work of art, the recipient and the reader. They help to voluntarily get used to the feeling of evil. It complements the human experience with an encounter with the Other, can have a therapeutic effect or become a safety valve, can free a person from the overly grasping clutches of morality and rationalism and become a paradoxical path to new human possibilities.
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