Marquis de Sade

For the French post-punk band, see Marquis

de Sade (band).
De Sade redirects here. For the 1969 lm,
see De Sade (lm).
This is a Romance language name. The family
name is de Sade, not Sade.

Donatien Alphonse Franois, Marquis de Sade (2

June 1740 2 December 1814) (French:
[maki d sad]), was a French aristocrat,
revolutionary politi- cian, philosopher, and
writer, famous for his libertine sexuality. His
works include novels, short stories, plays,
dialogues, and political tracts; in his lifetime
some were published under his own name,
while others appeared anonymously and de
Sade denied being their author. De Sade is
best known for his erotic works, which com-
bined philosophical discourse with pornography,
depict- ing sexual fantasies with an emphasis on
violence, crimi- nality, and blasphemy against
the Catholic Church. He was a proponent of
extreme freedom, unrestrained by morality,
religion, or law. The words sadism and sadist
are derived from his name.
De Sade was incarcerated in various prisons
and an insane asylum for about 32 years of
his life: 11 years in Paris (10 of which were
spent in the Bastille), a month in the
Conciergerie, two years in a fortress, a year
in Madelonnettes Convent, three years in
Bictre Hospi- tal, a year in Sainte-Plagie
Prison, and 13 years in the Charenton asylum.
During the French Revolution he was an elected
delegate to the National Convention. Many of
his works were written in prison.

1 Life

1.1 Early life and education

The Marquis de Sade was born in the Htel de

Cond, Paris, to Jean Baptiste Franois Joseph,
Count de Sade and Marie Elonore de Maill
de Carman, cousin and Lady-in-waiting to the
Princess of Cond on 2 June 1740. He was his
parents only surviving child.[1] He was edu-
cated by an uncle, the Abb de Sade. In
Sades youth, his father abandoned the
family; his mother joined a convent.[2] He
was raised with servants who indulged his
every whim, which led to him becoming
known as a rebellious and spoiled child with
an ever-growing temper.[2]

The Chteau de Lacoste above Lacoste, a residence of
Sade; cur- rently the site of theater festivals.
Later in his childhood, Sade was sent to the
Lyce Louis- le-Grand in Paris,[2] a Jesuit
college, for four years.[1] While at the
school, he was tutored by Abb Jacques-
Franois Amblet, a priest.[3] Later in life, the
Abb tes- tied at one of Sades trials, saying
that Sade had a pas- sionate temperament
which made him eager in the pur- suit of
pleasure but had a good heart.[3] At the
Ly- ce Louis-le-Grand, he was subjected to
severe corporal punishment, including
agellation, and he spent the rest of his
adult life obsessed with the violent act.[2] At
age 14, Sade began attending an elite military
academy.[1]
1
At age 15, he was commissioned as a sub-
lieutenant on 14 December 1755 after 20
months of training, becoming a soldier.[3]
After 13 months as a sub-lieutenant, he was
commissioned to the rank of cornet in the
Brigade de S. Andr of the Comte de
Provences Carbine Regiment.[3] He eventually
became Colonel of a Dragoon regiment and
fought in the Seven Years War. In 1763, on
returning from war, he courted a rich
magistrates daughter, but her father rejected
his suitorship and, instead, arranged a marriage
with his elder daughter, Rene-Plagie de Mon-
treuil; that marriage produced two sons and a
daughter.[4] In 1766, he had a private theatre
built in his castle, the Chteau de Lacoste, in
Provence. In January 1767, his father died.
1.2 Title and heirs
The men of the Sade family alternated between
using the marquis and comte (count) titles. His
grandfather, Gas- pard Franois de Sade, was
the rst to use marquis;[5] oc-
2 1 LIFE
Sades father, Jean-Baptiste Franois Joseph de Sade.
Marie Eleonore de Maille de Carman.
casionally, he was the Marquis de Sade, but is
identied in documents as the Marquis de
Mazan. The Sade fam- ily were noblesse d'pe,
claiming at the time the oldest, Frank-
descended nobility, so, assuming a noble title
with-
out a Kings grant, was customarily de rigueur.
Alternat- ing title usage indicates that titular
hierarchy (below duc et pair) was notional;
theoretically, the marquis title was granted to
noblemen owning several countships, but its
use by men of dubious lineage caused its
disrepute. At Court, precedence was by
seniority and royal favour, not title. There is
father-and-son correspondence, wherein father
addresses son as marquis.
For many years, Sades descendants regarded
his life and work as a scandal to be suppressed.
This did not change until the mid-twentieth
century, when the Comte Xavier de Sade
reclaimed the marquis title, long fallen into
dis- use, on his visiting cards,[6] and took an
interest in his ancestors writings. At that
time, the Divine Marquis of legend was so
unmentionable in his own family that Xavier
de Sade only learned of him in the late
1940s when approached by a journalist.[7] He
subsequently dis- covered a store of Sades
papers in the family chteau at Cond-en-Brie,
and worked with scholars for decades to enable
their publication.[8] His youngest son, the
Marquis Thibault de Sade, has continued the
collaboration. The family have also claimed a
trademark on the name.[9] The family sold the
Chteau de Cond in 1983.[10] As well as the
manuscripts they retain, others are held in
universities and libraries. Many, however, were
lost in the eighteenth and nineteenth centuries.
A substantial amount were de- stroyed after
Sades death at the instigation of his son,
Donatien-Claude-Armand.[11]
1.3 Scandals and imprisonment
Sade lived a scandalous libertine existence and
repeatedly procured young prostitutes as well as
employees of both sexes in his castle in
Lacoste. He was also accused of blasphemy, a
serious oence at that time. His behavior
included an aair with his wifes sister, Anne-
Prospre, who had come to live at the castle.
[8]
Beginning in 1763, Sade lived mainly in or
near Paris. Several prostitutes there complained
about mistreatment by him and he was put
under surveillance by the police, who made
detailed reports of his activities. After several
short imprisonments, which included a brief
incarcera- tion in the Chteau de Saumur
(then a prison), he was exiled to his chteau
at Lacoste in 1768.[12]
The rst major scandal occurred on Easter
Sunday in 1768, in which Sade procured the
sexual services of a woman, Rose Keller,[13] a
widow-beggar who approached him for alms. He
told her she could make money by work- ing
for himshe understood her work to be
that of a housekeeper. At his chateau at
Arcueil, de Sade ripped her clothes o,
threw her on a divan and tied her by the
four limbs. Then he whipped her, made
various incisions on her body into which he
poured hot wax, and then beat her. He
repeated this process seven or eight times,
when she nally escaped by climbing out of a
second-oor win- dow and running away. At
this time, la Prsidente, de
1.4 Return to freedom, delegate to the National Convention, and imprisonment 3
Later that year, Sade was tricked into going
to Paris to visit his supposedly ill mother,
Sades mother-in-law, obtained a lettre de cachet who in fact had re-
(a royal order of arrest and imprisonment,
without stated cause or access to the courts)
from the king, excluding Sade from the
jurisdiction of the courts. The lettre de cachet
would later prove disastrous for the marquis.[14]
In 1772, an episode in Marseille involved the
non-lethal poisoning of prostitutes with the
supposed aphrodisiac Spanish y and sodomy
with Latour, his manservant. That year, the
two men were sentenced to death in ab- sentia
for sodomy and the poisoning. They ed to
Italy, Sade taking his wifes sister with him.
Sade and Latour were caught and imprisoned
at the Fortress of Miolans in late 1772, but
escaped four months later.

Detail of Les 120 Journes de Sodome manuscript

Sade later hid at Lacoste, where he rejoined

his wife, who became an accomplice in his
subsequent endeavors.[8] He kept a group of
young employees at Lacoste, most of whom
complained about sexual mistreatment and
quickly left his service. Sade was forced to ee to
Italy once again. It was during this time he
wrote Voyage d'Italie. In 1776, he returned to
Lacoste, again hired several servant girls, most
of whom ed. In 1777, the father of one of
those employees went to Lacoste to claim his
daughter, and at- tempted to shoot the
Marquis at point-blank range, but the gun
misred.
cently died. He was arrested there and
imprisoned in the Chteau de Vincennes. He
successfully appealed his death sentence in
1778, but remained imprisoned un- der the
lettre de cachet. He escaped but was soon re-
captured. He resumed writing and met
fellow prisoner Comte de Mirabeau, who also
wrote erotic works. De- spite this common
interest, the two came to dislike each other
intensely.[15]
In 1784, Vincennes was closed, and Sade was
transferred to the Bastille. On 2 July 1789, he
reportedly shouted out from his cell to the
crowd outside, They are killing the
prisoners here!", and a disturbance began to
foment.[8] Two days later, he was transferred
to the insane asylum at Charenton near
Paris. The storming of the Bastille, a major
event of the French Revolution, would occur a
few days later on 14 July.
He had been working on his magnum
opus Les 120 Journes de Sodome (The 120 Days
of Sodom). To his despair, he believed that the
manuscript was lost during his transfer, but
he continued to write.[8]
In 1790, he was released from Charenton
after the new National Constituent Assembly
abolished the instrument of lettre de cachet. His
wife obtained a divorce soon after.
1.4 Return to freedom, delegate to the
Na- tional Convention, and
imprisonment
During Sades time of freedom, beginning in
1790, he published several of his books
anonymously. He met Marie-Constance
Quesnet, a former actress, and mother of a six-
year-old son, who had been abandoned by
her husband. Constance and de Sade would stay
together for the rest of his life.
He initially ingratiated himself with the new
political sit- uation after the revolution,
supported the Republic,[16] called himself
Citizen de Sade, and managed to ob- tain
several ocial positions despite his aristocratic
back- ground.
Because of the damage done to his estate in
Lacoste, which was sacked in 1789 by an
angry mob, he moved to Paris. In 1790, he
was elected to the National Conven- tion,
where he represented the far left. He was a
mem- ber of the Piques section, notorious for
its radical views. He wrote several political
pamphlets, in which he called for the
implementation of direct vote. However,
there is much to suggest that he suered
abuse from his fel- low revolutionaries due to
his aristocratic background. Matters were not
helped by his sons May 1792 desertion from the
military, where he had been serving as a second
lieutenant and the aide-de-camp to an important
colonel, the Marquis de Toulengeon. Sade was
forced to disavow his sons desertion in order
to save his neck. Later that year, his name
was added whether by error or wilful
malice to the list of migrs of the Bouches-
du-Rhne department.[17]
4 2 APPRAISAL AND CRITICISM

While claiming he was opposed to the Sade began a sexual relationship with 14-
Reign of Ter- ror in 1793, he wrote an year-old Madeleine LeClerc, daughter of an
admiring eulogy for Jean-Paul Marat. At this employee at Charen- ton. This aair lasted
stage, he was becoming publicly critical of some 4 years, until his death in 1814.
Maximilien Robespierre and, on 5 December,
he was removed from his posts, accused of
moderatism, and imprisoned for almost a
year. He was released in 1794, after the
overthrow and execution of Robespierre had
ef- fectively ended the Reign of Terror.
In 1796, now all but destitute, he had to
sell his ruined castle in Lacoste.

1.5 Imprisonment for his writings and

death

The rst page of Sades Justine, one of the works for which
he was imprisoned.

In 1801, Napoleon Bonaparte ordered the

arrest of the anonymous author of Justine and
Juliette.[8] Sade was ar- rested at his publishers
oce and imprisoned without trial; rst in the
Sainte-Plagie Prison and, following alle-
gations that he had tried to seduce young fellow
prisoners there, in the harsh fortress of
Bictre.
After intervention by his family, he was
declared insane in 1803 and transferred once
more to the asylum at Char- enton. His ex-wife
and children had agreed to pay his pension
there. Constance was allowed to live with him
at Charenton. The benign director of the
institution, Abb de Coulmier, allowed and
encouraged him to stage sev- eral of his plays,
with the inmates as actors, to be viewed by
the Parisian public.[8] Coulmiers novel
approaches to psychotherapy attracted much
opposition. In 1809, new police orders put Sade
into solitary connement and de- prived him
of pens and paper. In 1813, the government
ordered Coulmier to suspend all theatrical
performances.
He had left instructions in his will forbidding
that his body be opened for any reason
whatsoever, and that it remain untouched
for 48 hours in the chamber in which he
died, and then placed in a con and
buried on his property located in
Malmaison near pernon. His skull was later
removed from the grave for phrenological
examination.[8] His son had all his remaining
unpublished manuscripts burned, including
the immense multi-volume work Les Journes
de Florbelle.
2 Appraisal and criticism
Numerous writers and artists, especially those
concerned with sexuality, have been both
repelled and fascinated by Sade.
The contemporary rival pornographer Rtif
de la Bre- tonne published an Anti-Justine in
1798.
Georey Gorer, an English anthropologist
and author (19051985), wrote one of the
earliest books on de Sade entitled The
Revolutionary Ideas of the Marquis de Sade in
1935. He pointed out that Sade was in
complete oppo- sition to contemporary
philosophers for both his com- plete and
continual denial of the right to property
and for viewing the struggle in late 18th
century French soci- ety as being not between
the Crown, the bourgeoisie, the aristocracy or
the clergy, or sectional interests of any of
these against one another, but rather all of
these more or less united against the
proletariat. By holding these views, he cut
himself o entirely from the revolutionary
thinkers of his time to join those of the mid-
nineteenth century. Thus, Gorer argued, he
can with some justice be called the rst
reasoned socialist.[18]
Simone de Beauvoir (in her essay Must we burn
Sade?, published in Les Temps modernes,
December 1951 and January 1952) and other
writers have attempted to lo- cate traces of a
radical philosophy of freedom in Sades
writings, preceding modern existentialism by
some 150 years. He has also been seen as a
precursor of Sigmund Freud's psychoanalysis in
his focus on sexuality as a mo- tive force. The
surrealists admired him as one of their
forerunners, and Guillaume Apollinaire
famously called him the freest spirit that has
yet existed.[19]
Pierre Klossowski, in his 1947 book Sade Mon
Prochain (Sade My Neighbour), analyzes Sades
philosophy as a precursor of nihilism, negating
Christian values and the materialism of the
Enlightenment.
One of the essays in Max Horkheimer and
Theodor Adorno's Dialectic of Enlightenment
(1947) is titled Juli- ette, or Enlightenment
and Morality and interprets the ruthless and
calculating behavior of Juliette as the em-
bodiment of the philosophy of enlightenment.
Similarly, psychoanalyst Jacques Lacan posited
in his 1966 essay Kant avec de Sade that
Sades ethics was the comple- mentary
completion of the categorical imperative origi-
nally formulated by Immanuel Kant. However,
at least
 5

one philosopher has rejected Adorno and tape-recorded) were inuenced by Sades ideas
Horkheimers claim that Sades moral and fantasies. According to Sades biographer
skepticism is actually coherent, or that it Don- ald Thomas, Brady and Hindley had
reects Enlightenment thought.[20] [21] read very little of Sades actual work; the only
In his 1988 Political Theory and Modernity, book of his they possessed was an anthology of
William E. Connolly analyzes Sades Philosophy excerpts that included none of his most
[28]
extreme writings. Hindley herself claimed
in the Bedroom as an argument against earlier
that
political philosophers, notably Jean-Jacques
Rousseau and Thomas Hobbes, and their at-
tempts to reconcile nature, reason, and virtue
as bases of ordered society. Similarly, Camille
Paglia[22] argued that Sade can be best
understood as a satirist, responding point by
point to Rousseaus claims that society inhibits
and corrupts mankinds innate goodness: Paglia
notes that Sade wrote in the aftermath of the
French Revolution, when Rousseauist Jacobins
instituted the bloody Reign of Terror and
Rousseaus predictions were brutally dis-
proved.
In The Sadeian Woman: And the Ideology of Pornog-
raphy (1979), Angela Carter provides a feminist
read- ing of Sade, seeing him as a moral
pornographer who creates spaces for women.
Similarly, Susan Sontag de- fended both Sade
and Georges Bataille's Histoire de l'oeil (Story of the
Eye) in her essay The Pornographic Imagi-
nation (1967) on the basis their works were
transgressive texts, and argued that neither
should be censored. By contrast, Andrea
Dworkin saw Sade as the exemplary woman-
hating pornographer, supporting her theory that
pornography inevitably leads to violence against
women. One chapter of her book Pornography:
Men Possessing Women (1979) is devoted to an
analysis of Sade. Susie Bright claims that
Dworkins rst novel Ice and Fire, which is rife
with violence and abuse, can be seen as a
modern retelling of Sades Juliette.[23]

3 Inuence

Various inuential cultural gures have

expressed a great interest in Sades work,
including the French philosopher Michel
Foucault,[24] the American lm maker John
Wa- ters[25] and the Spanish lmmaker Jess
Franco. The poet Algernon Charles Swinburne
is also said to have been highly inuenced by
Sade.[26] Nikos Nikolaidis' 1979 lm The
Wretches Are Still Singing was shot in a surreal
way with a predilection for the aesthetics of
the Marquis de Sade.
Ian Brady, who with Myra Hindley carried
out torture and murder of children known as
the Moors murders in England during the
1960s, was fascinated by Sade, and the
suggestion was made at their trial and
appeals[27] that the tortures of the children
(the screams and pleadings of whom they
Brady would send her to obtain books by Depiction of the Marquis de Sade by H. Biberstein in
Sade, and that after reading them he became L'uvre du marquis de Sade, Guillaume Apollinaire
sexually aroused and beat her.[29] (Edit.), Bibliothque des Curieux, Paris, 1912

Main article: Marquis de Sade in popular

4 Cultural depictions culture

There have been many and varied references to

the Mar- quis de Sade in popular culture,
including ctional works and biographies. The
eponym of the psychological and subcultural
term sadism, his name is used variously to
evoke sexual violence, licentiousness, and
freedom of speech.[30] In modern culture his
works are simultane- ously viewed as masterful
analyses of how power and eco- nomics work,
and as erotica.[31] Sades sexually explicit
works were a medium for the articulation of
the corrupt and hypocritical values of the elite
in his society, which caused him to become
imprisoned. He thus became a symbol of the
artists struggle with the censor. Sades use of
pornographic devices to create provocative
works that subvert the prevailing moral values
of his time inspired many other artists in a
variety of media. The cruelties depicted in
his works gave rise to the concept of sadism.
Sades works have to this day been kept alive
by artists and intellectuals because they
espouse a philosophy of ex- treme
individualism that became reality in the
economic
6 5 WRITING

liberalism of the following centuries.[32] Similarly, in the horror lm Waxwork, Sade is

among the lms wax villains to come alive.
In the late 20th century, there was a resurgence
of interest in Sade; leading French intellectuals
like Roland Barthes, Jacques Derrida, and Michel
Foucault published studies of the philosopher,
and interest in Sade among scholars and artists
continued.[30] In the realm of visual arts, many
surrealist artists had interest in the Marquis.
Sade was celebrated in surrealist periodicals,
and feted by gures such as Guillaume
Apollinaire, Paul luard, and Maurice Heine; Man
Ray admired Sade because he and other sur-
5 Writing
realists viewed him as an ideal of freedom.[32]
5.1 Literary criticism
The rst Manifesto of Surrealism (1924)
announced that Sade is surrealist in sadism,
The Marquis de Sade viewed Gothic ction as a
and extracts of the original draft of Justine
genre that relied heavily on magic and
were published in Le Surralisme au service de la
phantasmagoria. In his liter- ary criticism Sade
rvolution.[33] In literature, Sade is referenced in
sought to prevent his ction from be- ing
several stories by horror and science ction
labeled Gothic by emphasizing Gothics
writer (and author of Psycho) Robert Bloch,
supernat- ural aspects as the fundamental
while Polish science ction author Stanisaw
dierence from themes in his own work. But
Lem wrote an essay analyzing the game the-
while he sought this separation he believed
ory arguments appearing in Sades Justine.[34]
the Gothic played a necessary role in soci- ety
The writer Georges Bataille applied Sades
and discussed its roots and its uses. He wrote
methods of writing about sexual transgression to
that the Gothic novel was a perfectly natural,
shock and provoke readers.[32]
predictable con- sequence of the revolutionary
Sades life and works have been the subject of sentiments in Europe. He theorized that the
numer- ous ctional plays, lms, pornographic adversity of the period had rightfully caused
or erotic draw- ings, etchings, and more. Gothic writers to look to hell for help in
These include Peter Weiss's play Marat/Sade, a com- posing their alluring novels. Sade held
fantasia extrapolating from the fact that de the work of writ- ers Matthew Lewis and Ann
Sade directed plays performed by his fellow Radclie high above other Gothic authors,
in- mates at the Charenton asylum.[35] Yukio praising the brilliant imagination of Rad- clie
Mishima, Barry Yzereef, and Doug Wright also and pointing to Lewis The Monk as without
wrote plays about Sade; Weisss and Wrights ques- tion the genres best achievement. Sade
plays have been made into lms. His work is nevertheless be- lieved that the genre was at
referenced on lm at least as early as Luis odds with itself, arguing that the supernatural
Buuel's L'ge d'Or (1930), the nal segment elements within Gothic ction created an
of which provides a coda to Sades 120 Days inescapable dilemma for both its author and
of Sodom, with the four debauched noblemen its read- ers. He argued that an author in this
emerging from their mountain retreat. In 1969, genre was forced to choose between elaborate
American International Films released a explanations of the super- natural or no
German-made production called de Sade, with explanations at all and that in either case the
Keir Dul- lea in the title role. Pier Paolo reader was unavoidably rendered incredulous.
Pasolini lmed Sal, or the 120 Days of Sodom Despite his celebration of The Monk, Sade
(1975), updating Sades novel to the brief believed that there was not a single Gothic
Sal Republic; Benot Jacquot's Sade and Philip novel that had been able to overcome these
Kaufman's Quills (from the play of the same problems. He theorized that if these problems
name by Doug Wright) both hit cinemas in were successfully avoided within the genre
2000. Quills, inspired by Sades imprisonment that the resulting work would be universally
and battles with the censorship in his society,[32] regarded for its excellence in ction.[37]
portrays Sade as a literary freedom ghter who
Many assume that Sades criticism of the Gothic
is a martyr to the cause of free expression.[36]
novel is a reection of his frustration with
Often Sade himself has been depicted in sweeping interpretations of works like Justine.
American pop- ular culture less as a Within his objections to the lack of
revolutionary or even as a libertine and more verisimilitude in the Gothic may have been an
akin to a sadistic, tyrannical villain. For ex- attempt to present his own work as the better
ample, in the nal episode of the television representation of the whole nature of man.
series Friday the 13th: The Series, Miki, the female Since Sade professed that the ultimate goal of
protagonist, travels back in time and ends up an author should be to deliver an accu- rate
being imprisoned and tortured by Sade. portrayal of man, it is believed that Sades
attempts to separate himself from the
Gothic novel highlights this conviction. For
Sade, his work was best suited for the
accomplishment of this goal in part because
he was not chained down by the supernatural
silliness that dominated late 18th-century
ction.[38] Moreover, it is believed that Sade
praised The Monk (which displays Ambrosios
sac- rice of his humanity to his unrelenting
sexual appetite) as the best Gothic novel
chiey because its themes were the closest to
those within his own work.[39]
5.2 Libertine novels
Sades ction has been tagged under many
dierent ti- tles, including pornography, Gothic,
and baroque. Sades most famous books are
often classied not as Gothic but as libertine
novels, and include the novels Justine, or the
Misfortunes of Virtue; Juliette; The 120 Days of
5.4 Sadism in the Gothic novel 7
stories, there is no escape for Sades virtuous
heroine, Justine. Unlike the milder Gothic
Sodom; and Philosophy in the Bedroom. These ction of Radclie, Sades horror ends in
works challenge perceptions of sexuality, sodomy, rape, or torture. To have a character
religion, law, age, and gender in ways that like Justine, who is stripped without ceremony
Sade would argue are incompati- ble with the and bound to a wheel for fondling and
supernatural. The issues of sexual violence, thrashing, would be unthinkable in the do-
sadomasochism, and pedophilia stunned even mestic Gothic ction written for the bourgeoisie.
those con- temporaries of Sade who were Sade
quite familiar with the dark themes of the
Gothic novel during its popularity in the late
18th century. Suering is the primary rule, as
in these novels one must often decide between
sympathiz- ing with the torturer or the
victim. While these works focus on the dark
side of human nature, the magic and
phantasmagoria that dominates the Gothic is
noticeably absent and is the primary reason
these works are not con- sidered to t the
genre.[40]
Through the unreleased passions of his
libertines, Sade wished to shake the world at
its core. With 120 Days, for example, Sade
wished to present the most impure tale that
has ever been written since the world
exists.[41]

5.3 Short ction

Subtitled Heroic and Tragic Tales, Sade

combines romance and horror, employing
several Gothic tropes for dramatic purposes.
There is blood, banditti, corpses and, of course,
insatiable lust. Compared to works like Jus-
tine, here Sade is relatively tame, as overt
eroticism and torture is subtracted for a more
psychological approach. It is the impact of
sadism instead of acts of sadism itself that
emerge in this work, unlike the aggressive
and ra- pacious approach in his libertine
works.[39] The modern volume entitled Gothic
Tales collects a variety of other short works of
ction intended to be included in Sades
Contes et Fabliaux d'un Troubadour Provencal du
XVIII Siecle.
An example is "Eugnie de Franval", a tale of
incest and retribution. In its portrayal of
conventional moralities it is somewhat of a
departure from the erotic cruelties and moral
ironies that dominate his libertine works. It
opens with a domesticated approach:

To enlighten mankind and

improve its morals is the only lesson
which we oer in this story. In
reading it, may the world discover
how great is the peril which follows
the foot- steps of those who will stop
at nothing to satisfy their desires.

Descriptions in Justine seem to anticipate

Radclie's scenery in The Mysteries of Udolpho
and the vaults in The Italian, but, unlike these
even contrives a kind of aection between
Justine and her tormentors, suggesting
shades of masochism in his heroine.[42]
5.4 Sadism in the Gothic novel
Despite the strong adverse reaction to
Sades work and Sades own disassociation
from the Gothic novel, the sim- ilarities
between the ction of sadism and the
Gothic novel were much closer than many
of its readers or providers even realized.
After the controversy surround- ing Matthew
Lewis The Monk, Minerva Press released The
New Monk as a supposed indictment of a
wholly im- moral book. It features the
sadistic Mrs. Rod, whose boarding school
for young women becomes a torture
chamber equipped with its own ogging-
room. Iron- ically, The New Monk wound up
increasing the level of cruelty, but as a
parody of the genre, it illuminates the link
between sadism and the Gothic novel.[42]
6 In popular culture
Howard Roark is the Marquis de Sade of
architec- ture. In the Ayn Rand novel
Fountainhead (1943).
The Marquis de Sade is mentioned in the
lyrics of The Stone Roses song "Fools Gold".
The 1990 song "sadeness (Part I)" by
the group Enigma was inspired by the
Marquis de Sade.
The 2000 lm Quills is a heavily
ctionalized ac- count of the Marquis de
Sades imprisonment. It starred Georey
Rush as de Sade.
The Marquis de Sade appears as an Non-
player Character in the 2014 video game
Assassins Creed: Unity.
The Character of Orin in the 1986
movie musical Little Shop of Horrors is
referred to as the Marquis De Sade
during the Dentist! song number.
Marquis (1989), a lm by Henri
Xhonneux et Roland Topor, inspired in
Sades imprisonment. The characters wear
masques of anthopomorphic animals.
The Persecution and Assassination of Jean-
Paul Marat as Performed by the Inmates of
the Asylum of Charenton Under the
Direction of the Marquis De Sade is a
play by Peter Weisse that depicts the
Marquis
 8 9 REFERENCES
7 Bibliography
For more details on this topic, see Marquis
de Sade bibliography.
8 See also
BDSM
Fetish fashion
Leopold von Sacher-Masoch
Sadomasochism
Sexual fetishism
Sexual sadism disorder
Quills
9 References
[1] The Eponymous Sadist. www.nytimes.com.
Retrieved 2016-04-26.
[2] Biography.com.
[3] Hayman, Ronald. Marquis de Sade: The Genius of
Pas- sion.
[4] Love, Brenda (2002). The Encyclopedia of
Unusual Sex Practices. UK: Abacus. p. 145. ISBN
0-349-11535-4.
[5] Vie du Marquis de Sade by Gilbert Lly, 1961
[6] du Plessix Gray, Francine At Home With The
Marquis de Sade: A Life, Simon and Schuster
1998, p420
[7] du Plessix Gray, Francine At Home With The
Marquis de Sade: A Life, Simon and Schuster
1998, p418
[8] Perrottet, Tony (February 2015). Who Was the
Marquis de Sade?". Smithsonian Magazine.
Retrieved 25 January 2015.
[9] Marianne2: Quand le marquis de Sade entre dans l're
du marketing by Jean-Pierre de Lucovich, Monday
30 July 2001. http://m.marianne2.fr/index.php?
action=article& numero=139612
[10] http://www.chateaudeconde.com/histrad2.htm
[11] Neil Schaeer, The Marquis de Sade: a Life
(Knopf, 1999)
[12] Timeline of de Sades life by Neil Schaeer.
Retrieved 12 September 2006.
[13] Barthes, Roland (2004) [1971]. Life of Sade.
New York: Farrar, Straus, and Giroux.
[14] Kathleen Barry, Female Sexual Slavery,
p.220
[15] Mirabeau, Honor-Gabriel Riqueti;
Guillaume Apolli- naire; P. Pierrugues
(1921). L'uvre du comte de Mirabeau. Paris,
France: Bibliothque des curieux. p. 9.
[16] McLemee, Scott (2002). Sade, Marquis de.
glbtq.com.
[17] The Life and Times of the Marquis de
Sade. Geoci- ties.com. Archived from the
original on 25 October 2009. Retrieved 23
October 2008.
[18] Gorer, Georey. The Revolutionary Ideas of the
Marquis de Sade, p. 197.
[19] Queenan, Joe (2004). Malcontents. Philadelphia:
Run- ning Press. p. 519. ISBN 0-7624-1697-1.
[20] Georey Roche, Much Sense the Starkest
Madness: de Sades Moral Scepticism.
Angelaki Volume 15, Issue 1 April 2010, pages
45 59. Retrieved 12 December 2010.
.
[21] Georey Roche, An Unblinking Gaze: On the
Philoso- phy of the Marquis de Sade. PhD
thesis, University of Auckland, 2004.
Retrieved 2 June 2013. .
[22] Paglia, Camille. (1990) Sexual Personae: Art and
Deca- dence from Nefertiti to Emily Dickinson. NY:
Vintage, ISBN 0-679-73579-8, Chapter 8,
Return of the Great Mother: Rousseau vs.
Sade.
[23] Andrea Dworkin has Died, from Susie Brights
Journal, 11 April 2005. Retrieved 23 November
2006
[24] Eribon, Didier (1991) [1989]. Michel Foucault.
Betsy Wing (translator). Cambridge, MAS.:
Harvard University Press. p. 31. ISBN
0674572866.
[25] Waters, John (2005) [1981]. Shock Value: A
Tasteful Book about Bad Taste. Philadelphia:
Running Press. p. 37. ISBN 978-1560256984.
[26] Mitchell, Jerry (1965). Swinburne - The
Disappointed Protagonist. Yale French Studies
(Yale University Press). No.35: 8188. Retrieved
14 November 2013.
[27] Hindley,, Myra. Oxford Dictionary of
National Biog- raphy. Retrieved 5 July 2009.
(subscription required (help)).
[28] Donald Thomas, The Marquis de Sade (Allison
& Busby 1992)
[29] Boggan, Steve (15 August 1998). The Myra
Hindley Case: `Brady told me that I would
be in a grave too if I backed out'". The
Independent (London).
[30] Phillips, John, 2005, The Marquis De Sade: A Very
Short Introduction, Oxford University Press, ISBN
0-19- 280469-3.
[31] Guins, Raiford, and Cruz, Omayra Zaragoza,
2005, Pop- ular Culture: A Reader, Sage
Publications, ISBN 0-7619- 7472-5.
[32] MacNair, Brian, 2002, Striptease Culture: Sex,
Media and the Democratization of Desire, Routledge,
ISBN 0-415- 23733-5.
 9

[33] Bate, David, 2004, Photography and Surrealism: Sade, Fourier, Loyola. (1971) by Roland Barthes
Sexual- ity, Colonialism and Social Dissent, I.B.
Tauris, ISBN 1- 86064-379-5. De Sade: A Critical Biography. (1978) by
[34] Istvan Csicsery-Ronay, Jr. (1986). Twenty- Ronald Hayman
Two An- swers and Two Postscripts: An
Interview with Stanislaw Lem. DePauw The Sadeian Woman: An Exercise in Cultural
University. His- tory. (1979) by Angela Carter

[35] Dancyger, Ken, 2002, The Technique of Film and
Video Editing: History, Theory, and Practice, Focal
Press, ISBN 0-240-80225-X.
[36] Raengo, Alessandra, and Stam, Robert, 2005,
Literature and Film: A Guide to the Theory and
Practice of Film Adaptation, Blackwell, ISBN 0-631-
23055-6.
The Marquis de Sade: the man, his works, and his
critics: an annotated bibliography. (1986) by
Colette Verger Michael
Sade, his ethics and rhetoric. (1989)
collection of essays, edited by Colette
Verger Michael

[37] Sade, Marquis de (2005). An Essay on Marquis de Sade: A Biography. (1991) by

Novels. The Crimes of Love. New York: Oxford Maurice Lever
University Press. ISBN 978-0-19-953998-7.

[38] Gorer, Georey (1962). The Life and Ideas of the The philosophy of the Marquis de Sade. (1995)
Marquis de Sade. New York: W. W. Norton & by Timo Airaksinen
Company.
Dark Eros: The Imagination of Sadism. (1996)
[39] Introduction. The Crimes of Love (New York: by Thomas Moore (spiritual writer)
Oxford University Press). 2005. ISBN 978-0-19-
953998-7. Sade contre l'tre suprme. (1996) by
[40] Phillips, John (2001). Sade: The Libertine Novels. Philippe Sollers
Lon- don: Pluto Press. ISBN 0-7453-1598-4.
A Fall from Grace (1998) by Chris Barron
[41] Gray, Francine du Plessix (1998). At Home with
the Mar- quis de Sade: A Life. New York: Simon & Sade: A Biographical Essay (1998) by
Schuster. ISBN 0-684-80007-1. Laurence Louis Bongie
[42] Thomas, Donald (1992). The Marquis de Sade. An Erotic Beyond: Sade. (1998) by Octavio Paz
London: Allison & Busby.
The Marquis de Sade: a life. (1999) by Neil
Schaef- fer
10 Further reading
At Home With the Marquis de Sade: A Life.
Sades Sensibilities. (2014) edited by Kate Parker (1999) by Francine du Plessix Gray
and Norbert Sclippa (A collection of essays
reect- ing on Sades inuence on his Sade: A Sudden Abyss. (2001) by Annie Le Brun
bicentennial anniver- sary.)
Sade: from materialism to pornography. (2002)
Forbidden Knowledge: From Prometheus to Pornog- by Caroline Warman
raphy. (1994) by Roger Shattuck (Provides a
sound philosophical introduction to Sade and his Marquis de Sade: the genius of passion. (2003)
writings.) by Ronald Hayman

Pour Sade. (2006) by Norbert Sclippa
Marquis de Sade: his life and works. (1899) by Iwan
Bloch
Sade Mon Prochain. (1947) by Pierre Klossowski
Lautramont and Sade. (1949) by Maurice Blanchot
The Marquis de Sade, a biography. (1961) by
Gilbert Lly
Philosopher of Evil: The Life and Works of the Mar-
quis de Sade. (1962) by Walter Drummond
Marquis de Sade: A Very Short Introduction
(2005) by John Phillips
The Dangerous Memoir of Citizen Sade (2000) by
A.
C. H. Smith (A biographical novel)
Outsider Biographies; Savage, de Sade,
Wainewright, Ned Kelly, Billy the Kid, Rimbaud
and Genet: Base Crime and High Art in
Biography and Bio-Fiction, 1744-2000 (2014)
by Ian H. Magedera

The life and ideas of the Marquis de Sade. (1963) by

Georey Gorer
 10 11 EXTERNAL LINKS

11 External links
Marquis de Sade at Encyclopdia Britannica
Works by Marquis de Sade at Project Gutenberg
Works by or about Marquis de Sade at
Internet Archive
Works by Marquis de Sade at Open Library
Norbert Sclippa
uvres du Marquis de Sade
Marquis de Sade at the Internet
Speculative Fiction Database
Marquis de Sade at the Internet Movie Database
Biography at Trivia Library
Carnet du Marquis de Sade Site run by a
descendant of the Marquis de Sade.
Weekly publication of the article(s) around
the current de Sade.
Crime Library: The Marquis de Sade
McLemee, Scott. Sade, Marquis de (1740-
1814)". glbtq.com. Retrieved 30 January
2015.
 11

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