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The article argues that Coetzee’s novel Disgrace positions the animal not only as opposed to protagonist David Lurie but also in him. The novel dramatizes this by focusing on Eros: Lurie gradually replaces his idea of desire derived from the Romantics (Wordsworth, Coleridge) with an idea of instinct that suggests Eros to be common to humans and animals. I argue that Lurie ultimately arrives at a stance similar to that of Diogenes of Sinope, the contemporary of Plato and main representative of the Cynics. Seen against this background, Lurie’s metamorphosis into a ‘dog-man’ becomes readable as recognition of his own animality, a recognition that has decisive consequences for an ethical reading of the novel.

J. M. Coetzee’s ‘Dog-Man’ and the Cynicism of Disgrace