In D.R. Popescu’s novels, the repetition, under different guises, of the mythemes of ‘degraded’ femininity – the maculate virgin, the mad woman, the perilous Melusine, the femme fatale, anthropomorphic figures joined by projections of perverted motherhood such as images of cemetery-gardens or of the land touched by decay – are all subordinated to the eschatological imaginary ‘sliding’ into decadentism. Being an anthropomorphization of a desire repressed under the moral codes of an era which exults, at the level of secularized religion, in the representation of the maternal figure as a projection of the revered ‘terre-patrie’, keeper of the ancestral memory, the femme fatale, doubled by the perverted figure of that ‘ange du foyer’ is the keeper of the significations of the new genesis. As the agent of the hero’s failure (associated to a ‘castration complex’), she latently deconstructs the Promethean (political) mythology confining the eschatological scenario to the plan of collapse, disorder, chaos.