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Movie "Marquis de Sade: Justine" In order to know virtue, we must first acquaint with vice.

XL Semanal. Dolap magnetband. Meme Generator. Media Life Crisis. Prev Share. More from Factinate. Featured Article. But I didn't have much time. Do I not possess the most authentic certificates possible? Then if they are per- suaded that I am innocent, why am I treated as guilty? Why do they try to force into the ranks of the enemies of the Republic one of its warmest and most zealous par-. Have I ever been known to share their conduct and their sentiments?

My actions have destroyed the wrongs of my origin, and it is to that reason that I owe all the attacks that the royalists have made on me, especially Poultier in his paper of the I2th fructidor last. But I defy them as I hate them. He then goes on to describe the plot of his tragedy. Goupilleau seems to have answered politely and kept him dangling; the play was not, as far as is known, performed. It will be seen that de Sade protests almost over- emphatic admiration for the republic, which, as I pointed out earlier, had fallen so far short of his ideals.

But bad as the republic was, it was better than the danger that de Sade, with his keen political foresight, saw approaching, the danger of a new tyranny, of an empire, of Napoleon. In this work de Sade applied his own principles of attacking. It is hard to understand nowadays how this book pro- voked such a violent storm and scandal; it is nearly incomprehensible. The only passage that has any interest for us is his analysis of the reasons for Napoleon's future success, reasons that are equally valid to-day for the rise of dictators.

The so-called aris- tocrat detests the rule of men covered with blood and crime. The mad demagogue is furious that people dare to muzzle him and that those in power leave him to dis- grace. The nervous and indifferent who form the greatest number pray for a single master who joins courage to vision, virtue to talent, and they find him in d'Orsec Napoleon.

His marriage with Zolo Josephine gains him the adhesion of the proscribed class. He paid the penalty of his rashness. He should have remembered the distich he had placed at the head of Aline et Valcour. In March, , he was arrested with his publisher Bertrandet on the specious excuse that he intended pub- lishing Juliette which had actually been on sale for five years , "an immoral and revolutionary work. His case did not come up for hearing. The Minister of Justice replied by giving an order that he should be forgotten for a while.

This was a favourite trick of Napoleon's, to declare mad any enemy of his whom he could not catch on a criminal charge. There is no question that de Sade was really insane; even the doctors in charge of him denied it. It would have been perhaps more merciful for him if he had been. Even the consolation of his writing was denied to him now; periodically police officers came to hunt for his manuscripts, wherever he hid them, and confiscated them.

Some were kept, some were seized at his house prior to his arrest, others after his death; the greater part were burnt by the police at the request of his son. The old age of Lear was not more tragic than that of this man, living too sane among lunatics. Under his protection de Sade developed a project which saved him from dying from boredom; he instituted a theatre for madmen. As a method of re-education play-acting offers enormous possibilities. It was possibly due also to Coulmier's benevolence that the novel Les Journees de Florbelle a work in which Louis XV, Fleury and the Comte de Charolais were among the characters got so near publication before it too was seized by the police in , an d that La Marquise de Gange, if it is by him, was published in It was also due to Coulmier that he was able to enjoy a certain amount of freedom of communication and to receive visits.

Quesnet, whom for the sake of appearances he described as his natural daughter there is certainly no truth in this statement visited him freely; it is even pos- sible that she lived in the asylum for a certain time. One of the only two letters which survive from this epoch bear both their names; it is concerned with the settlement de Sade made on her. The performances in the asylum became quite a social event.

Guests came in from outside, though the issuing of invitations depended entirely on the director. We have a list of invitations for May 23rd, , which includes the local mayors and curates, doctors, a lady-in-waiting of the Queen of Holland and various other people; also thirty-six employees of the building and sixty patients. On these occasions de Sade acted as producer and master of ceremonies. On special occasions, such as the director's birthday, or a visit to the asylum of a notability such as the Cardinal Maury, de Sade composed special allegorical.

The verses written for the visit of the Cardinal in still exist; they are such as one might expect as competent as a poet laureate would produce on a similar occasion, and equally untouched by poetry. But even now de Sade was not free from persecution. In the head doctor wrote to the chief of the police incidentally it would be interesting to know what the police had to do with an asylum a violent attack on de Sade, grudging him his comparative freedom of move- ment and communication and demanding his removal to some fortress.

He attacks the play-acting by the lunatics as unorthodox and liable to bad effects though it had been going on for some years he could not show any and states formally that de Sade was in no way mad "his only delirium being that of vice. Then the same doctor got his way and the plays were forbidden; they were replaced by concerts and balls.

In de Sade appealed vainly to Napoleon for his release. In his letter he stated that he had spent over twenty years of the most miserable life in the world in prison, that he was now nearly seventy, almost blind, and suffering from gout and rheumatism in the chest and stomach. There are several accounts of him in his old age. They show him to be quick-tempered as always, extremely polite, graceful in his movements, rather fat and white- haired; we can picture him to some extent.

There is no known portrait of him at any time of his life and the only description of him in his youth that I can find is the rather summary one of the witnesses at Marseilles where he is described as shorter than his servant, fair-haired and. Of the last years of his life we know nothing. He died on December 2nd, 1 8 14, at the age of seventy-four.

The cause of his death was given as " pulmonary congestion. Nine years earlier in a fit of great bitterness he made his will, which was found after his death. My grave shall be dug in the thicket by the Malmaison farmer under the inspection of M. Once the grave has been filled it shall be sown over with acorns so that subsequently the said grave being replanted and the thicket being tangled as it was before, the traces of my tomb may dis- appear from the face of the earth, as I flatter myself that my memory will be wiped away from the minds of men.

Even in death he was thwarted. The passionate atheist was given Christian burial and a stone cross set over him. But that was not sufficient indignity. It was small and well-shaped; at first glance it might be taken for a woman's head, especially as the bumps of tenderness and love of children are as prominent as in the head of H61oise, that model of tenderness and love.

They seem to have thought that these conclusions were paradoxical. Actually it is not a bad epitaph. The collection of letters written to the lawyer Gaufridy and published by Paul Bourdin in under the title of La Gorrespon- dance intdite du Marquis de Sade gives a good deal of information, especially about the years and About half the letters are from de Sade, the rest being from his relations, his wife, his mother-in-law, Mademoiselle de Rousset, and various people with whom he had business.

Nobody's character comes particularly well out of this correspondence; they are mostly about money, speculations about wills, and methods of defrauding the revenue, etc. They do however clear up a number of riddles in the life of de Sade. Unfortunately the letters are only a selection, and M,. Bourdin has such a bias against de Sade that one cannot tell to what an extent such a selection is representative.

Anything which is against de Sade is true, anything in his favour is an exaggeration or a lie. He cannot even mention a list of de Sade's books without suggesting that he has bought but not read them. Bourdin is a very superior person, but despite his prejudices the book is informative, though not interesting. This Essay, written and published in , when all his major work was written, is of considerable interest, for not only does it give his ideas on the function and art of the novel, and fiction generally, but is also a tacit criticism and justification of his own work.

The fact that he formally denies the authorship of Justine therein is of no importance; at the date of writing it was the only policy. He starts by sketching the origin of the novel. Deriding those people who would seek an origin in one country or in one people, he places the origin of fiction in two ingrained human weaknesses prayer and love.

The first fiction arose when the first religion was invented. Man's mythopoeic faculties were first occupied with gods,. Somewhat later ideal and lyrical love-stories were written. He glances over the novels of the Romans and Greeks incidentally he states that Petronius' Satyricon should not be considered a novel; he shared with his contemporaries the idea that it was a personal satire on Nero to consider in greater detail the productions of Christian Europe, and especially France. Almost at once the novel reached its apogee Don Quixote is for him the best novel ever written. His judgments on the French novels of the eighteenth century are so just and so much in accordance with the accepted taste of to-day that they do not need repeating; he gives Voltaire and Rousseau their just praise, and takes to task Crebillon, Tanzai and their followers writers who are considered typically 'eighteenth century' for their immorality.

From these he excepts Provost, whom he admires very much. He then turns to the English novel. He then deals with the 'Gothic 1 novel. For him who knows the misery the wicked can inflict on mankind the novel became as difficult to write as it was boring to read; there was no one who did not undergo more mis- fortunes in five years than the best novelist could describe in a century; therefore hell had to be called in to help and interest, to find in nightmare merely what one knew ordinarily just by glancing over the history of man in this age of iron.

If a successful work appeared without being wrecked on either point, far from blaming the means employed we would offer it as a model. After this historical survey he makes some general considerations on the novel. He then proceeds to give advice to other writers. The only rule is verisimilitude. Descriptions of places, unless imaginary, should be exact. It is not necessary to keep to the original plan, for ideas that come in the course of writing are just as useful, provided the interest is kept up. Incidents the short story inserted into the body of the main work was still general when this was written must be even better than the main body to justify themselves.

An author should never moralise, though his characters may. But above everything don't write unless you have to; if you need money make boots and we will respect you as a competent cobbler; if you write for money your work will show it. Finally he justifies himself for the attacks made on Aline et Valcour. Even a work as innocuous as this was not allowed to go without detractors. An otherwise unknown journalist,. Villeterque, filled a column in attacking de Sade as advocating crime and immorality; in an extremely witty and spirited reply de Sade justifies himself, analysing his essay and stories; he applies the Aristotelean canon of purging by pity and terror and asks, "From what can terror spring, save from pictures of crime triumphant, or pity save from virtue in distress?

In the given. He appears to have shown some originality in form, if not in content, for we possess the plan for an entertainment made up of five different pieces tragedy, comedy, opera, pantomime and ballet respectively, each complete in itself yet each adding to the main plot or frame which held the pieces together.

He also wrote three full-length historical novels; these again we only know of by their titles. Incidentally in his renovation of the historical novel also he seems to have been a precursor; I do not know of any other eighteenth-century novelist who used history as a frame for romance and went to the original sources and documents for verisimilitude. Waverky was published some years after his death. His four-volume Portefeuille d'un Homme de Lettres has fared little better; we only know a very rough plan of the work and a few isolated scraps. The letter on play-writing was to contain.

The more serious subjects were to be diversified by anecdotes; of these a dozen have come down to us. They are amusing and well told. A certain number are definitely indecent in a humorous 'gaulois' style the last thing one would have expected from de Sade; a couple deal with well-attested local ghost stories.

After his diary from 1 this is the work whose disappearance I regret the most. The diary, if it could be found, would almost certainly be the most extraordinary document humanity has ever known. The rest of the works which have disappeared but the existence of which we know of may be mentioned here. A great deal of his correspondence chiefly dealing with business or family affairs has been published.

His political pam- phlets have been referred to in the first chapter. He probably wrote more which have not been identified. In brief, all that remains to us of his normal literary work, besides the essay already referred to, are thirty- seven short stories. Of these eleven were published in his lifetime, a twelfth under the editorship of Anatole France in , and the remainder in , edited by Maurice Heine, who transcribed them from the manu- scripts in the French National Library.

On the whole they are very competent, written in a sober and economical style though, as are nearly all his works, bespattered by fixed epithets and mechanical similes of the order of. It is by far the longest of his humorous stories and very spirited; the backbone which holds the. Oui, oui, c'est juste, repondit la folle marquise. In this category of works addressed entirely to the general public I would include La Philosophic dans le Boudoir, in spite of its erotic content and vocabulary; its chief raison d'etre is the hundred-page pamphlet French- men, a further effort if you wish to be republicans, which occupies about a third of the book and which will be considered in great detail later; the frame in which it is placed was, I think, an attempt to diffuse the pamphlet more effectively than would be done if it was offered by itself, and also to make money.

The plot of the work is the sexual education of a young girl, a perpetual device of pornographic writers.

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True, it is done with more verve and greater variety than in most similar books, and the intellectual equivalent of sexual emancipation receives at least as much space as the physical side; there are many traces of de Sade's individual approach to such problems; but the aim of the book is obviously to excite the reader and therefore pornographic; it is the only work of de Sade's against which such an accusation can be laid with honesty.

It is possible however for a book to have interest, even with the exclusion of these two subjects. I am forced, therefore, to give a rather long account of it. It is really three completely distinct novels, linked together by rather slight threads of a secondary intrigue.

The main book occupying the first and fourth volumes is a dramatic and tragic story told in letters; the second volume is an account of a symbolical voyage, somewhat in the style of Swift; the third volume is an adventure story. For convenience I shall refer to these different parts as the story of Aline and Valcour, the story of Sain- ville, and the story of Leonora respectively. A poor young man, Valcour, is in love with Aline, the daughter of the Magistrate de Blamont.

Aline loves him in return and his suit is favoured by her mother, a charming woman and a sincere Christian.

Bastille Dreams: A Short Play on Marquis de Sade by Clair LaVaye

These three are all honourable people, governed by their heart rather than by their head, sentimental, virtuous, religious and stupid. Aline's father disapproves of the match owing to its imprudence; he has found for his daughter a thoroughly acceptable husband in the financier Dolburg, a rich man already three times widowed, a friend of de Blamont's and his companion in debauchery. Aline, however, is constant in her love, and seconded by her mother uses every possible device to postpone the arranged wedding, De Blamont, infuriated by this resistance uses all his powers to cause the wedding to take place.

The scene is set for the conflict. On one side there is sentiment, honour, religion the heart; on the other the intellect which acknowledges no laws but those of reason, no prejudices, no tacit agreements. The heart is bound to lose, for it considers itself bound by conventions and decencies at which the intellect laughs. The action is straightforward. When all legal means of forcing his daughter to the marriage have been foiled either by Madame de Blamont or friends, de Blamont tries to have the girl kidnapped.

This too fails, as does an attempt to bribe Valcour to renounce his claims, and a subsequent attempt to have him assassinated. De Blamont therefore decides to isolate the girl, removing by one device or another all her friends, and finally causing her mother to be poisoned by a servant he had seduced. Alone and powerless, the girl is taken to a distant country property of her father's, where she is. Escape is impossible, all her appeals for pity are dismissed; in complete despair the girl commits suicide. The book is extremely well written. The characters and beliefs of the different actors are excellently revealed in their letters; the emotion continually and carefully heightened, and the climax is handled with considerable restraint and deep feeling.

Unfortunately there is a sub-plot, concerned with a lost elder daughter of Madame de Blamont, which, although it helps the intrigue it is the excuse for the introduction of the two other novels and serves to reveal de Blamont's character, is the cause of a great deal of diffuseness, and is probably the chief reason for the book never having been accorded its due. Slightly pruned, the novel could stand against any other product of its country and century. Although he only writes six of the seventy odd letters of which the book is formed, his shadow is cast on every page.

He gives an impression of deathly coldness. Even his debauches and atrocities heighten that impression. In face of his single-minded, un- scrupulous, cold determination the rest of the characters are like birds trying to escape from a snake. He is probably the most terrifying character ever created, the more so as we see him chiefly through the eyes of his victims.

Although de Sade's later works abound in far greater monsters their very number and the lack of con- trast lessen their effect. It has already been remarked that this novel is partly autobiographical, Valcour's life-story is de Sade's; in. The charitable and long-suffering wife of de Blamont may well be a picture of Madame de Sade. The story of Sainville is completely different. It is an account of a voyage, but such a voyage as only Gullivers make. In the preface de Sade says, " Nobody as yet. In Tamoe de Sade has painted his Utopia. This volume will be analysed in subsequent chapters.

The story of Leonora is the longest of the three, the most full of incident, and the dullest. The young lady is kidnapped and goes through adventure after adventure all over the world before returning home. She is a most disagreeable character, cheating and lying, using her. She manages to preserve her virtue through all dangers. She has somewhat unjustly been compared with Juliette; but the latter paid for what she got: she wasn't that sort of a cheat. In Spain, Leonora undergoes some of the vicissitudes which later afflict the unhappy Justine the cut-throat inn, the murderous monks, the band of beggars.

Some of the incidents and minor characters are of great interest; the salient points will be dealt with as occasion arises,. In several different places de Sade prophesies the imminence of the Revolution. The book was twice sup- pressed in the early nineteenth century as being politically subversive. From every point of view Les Journees de Sodome is one of the most extraordinary books in the world.

Even its history is peculiar. On his removal from there the manuscript was lost, or stolen, and came into the possession of a French family where it remained for over a century. Then a hundred and twenty years after its composition it was published by Dr. Ivan Bloch ' Eugene Diihren' in a very limited edition; a second and corrected edition was started in Paris in , but the enterprise seems to have fallen through.

It was to be in four parts, preceded by an introduction and perhaps followed by an epilogue; but except for the introduction and the first part, which have been fairly fully developed, it is only in the form of detailed notes. We shall probably never know whether de Sade used this canvas to write the complete book.

Cheap sade love deals

As with The Castle of Kafka we have only the fragment of the intended whole; and these two fragments, utterly opposed as they are in every way, can both be qualified as masterpieces. It includes every range of intellectual, sensual and physical activity which can possibly be brought into this category. Bloch was undoubtedly justified in claiming for this work a very high place as a scientific document, and claiming that it alone would place de Sade among the very first writers of his century.

These perversions were to be described by four old women, who were to place them in the stories of their lives, thus giving four detailed life histories with their economical and social background. These historians were to recount the perversions, to the number of five every evening during a four-month orgy, lasting from the end of October till the beginning of March, to four excessively debauched war-profiteers, their four wives, and their harem of twenty-eight subjects.

During the four months the development of the thirty-six characters and their mutual interaction was to be described. The introduction sets the scene and gives elaborate physical and mental portraits of the actors. This portrait gallery is an astounding performance, as a piece of writing hardly ever equalled. They are monstrous figures, well over life size, painted with extreme naturalism, yet crystallised to an individualism the naturalist school never attained. De Sade is absolutely merciless; we are not spared a single wrinkle, a single sore, unpleasant smell or habit, not a single meanness or treachery; no detail of cowardice or filth is hidden.

But the canvas is not monotonous; religion and beauty are there too, childish- ness and romanticism; the whole gamut of human possibilities are exhibited in their extremest development. The work starts off with a thunderclap. It would be a mistake to imagine that only business people took part in this malpractice, it had at its head very great gentlemen indeed. The Duke de Blangis and his brother the bishop had both made enormous fortunes by these means, and are suffi- cient proof that the aristocracy did not disdain this method of making a fortune, any more than other people.

These two illustrious persons, intimately bound by pleasure and interest to the financier Durcet and the Judge de Curval, were the first to imagine the debauch we are going to describe; they communicated it to their two friends and these four formed the principal actors of those famous orgies. This single paragraph gives a good sample of de Sade's penetrating social criticism.

It is no accident that his four villains are representatives of the four groups which represent law and order. This very slight sketch will give some notion of the scale on which the work is planned. Details of the plot can be found in the books mentioned at the end of the chapter. De Sade was driven by two motives to write this work.

Should we hazard new ones? Hazard hazard, replies the philosopher. Held in by absurd fears they only tell us of puerilities that every fool knows and do not dare to lay hands fear- lessly on the human heart and portray its gigantic divaga- tions. We will obey since philosophy commands and. The second motive which actuates this work is a mis- anthropy unequalled in human history. Lear and Timon are but pale shadows compared to de Sade at this epoch.

His aim is no less than to strip every covering, both mental and physical, off man and expose him to our disgusted gaze as the mean and loathsome creature he is. It is the supreme blasphemy. Our gods you may attack, individuals you may show to be monsters, but to attack the human race is unforgivable. Even the paler 'scientific' exposures of the Viennese psychoanalysts have called forth the most indignant remonstrances; no wonder de Sade, with his cold and objective exhibition of the most carefully hidden corners of our unconscious minds, of our daily weaknesses and meannesses, has been tracked and pursued by authority all over the world.

All silk skirt and no knickers

In this work the blasphemy reaches Mephistophelean heights. Curval complains that there are only two or three crimes to commit. He allows himself to make paradoxical moralising asides; "If crime has not the delicacy of virtue, has it not ceaselessly a character of grandeur and sublimity that surpasses and will always surpass the monotonous and effeminate features of the latter?

De Sade realised the unique quality of this work. At the end of the Introduction he calls on his friend the. The account of the monastery Sainte-Marie-des-Bois in La Nouvelle Justine in particular seems to be a vain effort to reconstitute the lost work. In contrast with the fragmentary remains of Les Journees we have no less than four complete versions of Justine, written over a space of ten years. It was transcribed from the manuscript by Maurice Heine in The following year it was brought out again by another publisher with slight alterations the chief being that it is his mother, and no longer his aunt, that the 'homosexual' de Bressac feels so strongly about psychologically an important change.

This version had a considerable success in the ten following years. Although the sexual element is present none of the first three versions can be considered obscene. Finally in 1 the book was entirely re-written and expanded to more than double its size, largely by. Justine was to pass from the hands of one extraordinary character to another's, a miser's, a 'homo- sexual's,' a coiner's, a vegetarian and a temperance reformer's.

In every case the exercise of some Christian virtue, chiefly pity or charity or the negative abstention from crime, was to land her in one predicament after another. The final moral was to be not 'cultivate your garden,' but 'learn how to correct the caprices of fortune' anglice 'God helps those who help themselves. But almost immediately de Sade saw that this subject necessitated more serious treatment, for he was not attacking a minor foolishly optimistic philosophy, but the whole basis of Christianity and the Christian con- ception of human nature, Christianity assumed that gratitude, remorse, a natural leaning towards gratuitous kindness and charity were fundamentals of human behaviour in a Christian country, and that, there was a providence which especially looked after the good and pious.

De Sade intended to show how unfounded such assumptions were, how worldly success was only to be obtained by a facade of virtue combined with a strict attention to business unalloyed by scruples or unneces-. Justine is killed by lightning. The parallel is very close. Both protagonists believe in a state of affairs and a humanity which in fact do not exist; both prefer to stick to their delusions rather than to learn from experience, and in consequence go from one disastrous and ridiculous situa- tion to another, finally dying in misery, still convinced that their vision of the world is a true one.

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Justine is consoled by her assurance that she is right, comforted by prayer, and upheld by her hopes of heaven. In this spirit the first published version of Justine was written as also the rough sketch. The tale is well told and the incidents lively and diversified; it is one of the most depressing books ever written. But the good are in a terrible minority; and except in this one case they are never in a position to influence their fellows; the world is composed of rogues and their victims.

The history of Paris between and is amply sufficient to account for the alterations between the two versions. During that time de Sade had witnessed the. La Nouvelle Justine is the final vomiting of de Sade's disgust and disappoint- ment. In the preface he claims that he has acquired the right to say everything and then goes on to remark that in a century as philosophical as this no one will be scandalised by any descriptions or systems he may employ!

Com- mentators on de Sade are so fascinated or appalled at his obscenity that they have no eyes for. He then goes on: "As for the cynical descriptions, we believe that since every situation of the soul is at the dis- position of the novelist, there are none which he has not the right to employ; only fools will be scandalised; true virtue is never frightened or alarmed by pictures of vice, only finding therein a further motive for the sacred pro- gress it has imposed on itself. Perhaps there will be an outcry against this work; but who will protest?

The libertines, as formerly the hypocrites against Tartuffe". This last sentence needs a little consideration, for in it de Sade gives away the intention which motivated the writing of the book. It was certainly not porno- graphic he lacks every qualification for that; he neither beautifies nor romanticises sex, his descriptions are of. His prophecy about his detractors has proved correct; starting from his personal enemy, Restif de la Bretonne, it has been the gallants, the lady-killers, the successful amorists who have attacked de Sade with the greatest violence and have been the most distressed by his debunking of their behaviour.

If Justine may be compared with Don Quixote the story of Juliette her sister is an earlier and intensely serious version of Gentlemen Prefer Blondes. Eisman and the political intentions of Major Falcon had been given, you would have a very fair idea of the con- tents of Juliette. When Juliette, like her sister, was suddenly left an orphan without resources and was equally denied both help and charity from the quarters from which she expected it, she decided to utilise the one asset she pos- sessed and went into a brothel.

Her religious con- victions had already been undermined by the Mother Superior of the convent where she was educated, and convinced that no one would help her unless she helped herself she set about the task of getting money by every possible means.

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She spent a couple of very unpleasant years at the brothel, robbing her clients as much as she could, when she met an elderly, disagreeable, criminal and extremely intelligent business man, whose mistress she became. After some time she met at dinner at his house a person called Saint-Fond, a 'statesman,' the most powerful and richest man in the kingdom, a repulsive megalomaniac; she became less his mistress than the supervisor and administrator of his pleasures, a sort of Pompadour.

She retained this position for some time, enjoying very great wealth and numerous privileges, but she was always in a dependent state, She lost Saint-Fond's patronage by betraying her horror at a monstrous project of his to starve to death two-thirds of the popula- tion of France. At the age of twenty-two she found her- self again nearly as poor as she was seven years earlier, but a good deal more experienced.

She went to Angers and started a gambling-den; she there met a respectable provincial nobleman and became his wife. For two years she endured the boredom of matrimony, then poisoned her husband and went to Italy to seek her fortune in company with a card-sharper. Other editions.

41. High-Minded

Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. In "Bastille Dreams," Sade is visited in his Bastille cell by Simone de Beauvoir and Jack the Ripper, who question him about the limits of man's freedom. Sade's companions and sister muses, Justine and Juliette, assist him in the debate, but question where Sade's philosophy of freedom leads when expressed fully.

Modern historians and philosophers have been re-appraising Sade's wicked reputation, asserting his role as a philosopher whose worldly views were ahead of his time with regard to assertion of the self and the will to power. A warning from the author: Sade's philosophy is poisonous, so beware, innocent eyes, lest you fall into damnation!!

Published by House of Debauch Publications, all rights reserved. The play runs approximately 20 minutes. Music is available upon request for those interested in staging "Bastille Dreams.