Donatien Alphonse François de Sade

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Imaginary portrait of de Sades:
"Everything is just literature for him."
Homme de lettres , imprisoned for 27 years, lets his sadomasochistic imagination run wild with his pen .
Company-DAF-Sade.png

Donatien Alphonse François, Comte de Sade, called Marquis de Sade [ dɔnaˈsjɛ̃ alˈfɔ̃ːs fʀɑ̃ˈswa, kɔ̃ːtdəsad, maʀkidəˈsad ], abbreviated: "DAF de Sade", (born June 2, 1740 in Paris ; †  December 2, 1814 in Charenton-Saint-Maurice near Paris) was a French nobleman from the House of Sade . He was best known for his violent pornographic novels, most of which he wrote during decades of sojourns in prisons and asylums . They are characterized by the fact that the plot is interrupted by long philosophical passages of radical atheistic and materialistic conception. These philosophical discourses serve, on the one hand, to justify the cruel plot and, on the other hand, to propagate its libertarian views.

With his work Psychopathia sexualis (1886), the psychiatrist Richard von Krafft-Ebing introduced the Sade-based technical term sadism into medicine.

The German psychiatrist Richard von Krafft-Ebing , in his treatise Psychopathia sexualis according to Sade, coined the medical term sadism , which describes a sexual deviation that consists in the fact that a person experiences pleasure or satisfaction when he humiliates or torments other people.

The Marquis' passion was less for his amoral narrative texts, to which he owed his dubious fame, than for the theater “ as a moral institution ”.

He was convinced that he was an important dramaturge . He firmly believed that his 21 plays in which virtue triumphs - in contrast to his novels in which vice prevails - had a great future ahead of them. A wish that has so far remained unfulfilled.

Opinions differ on the person and work of Sade. For some critics he is an amoral monster, a moral and youth spoiler, even a criminal .

Other sadologists see in him a misunderstood literary genius, a champion of the sexual liberation of women, a philosopher: the perfecter of the Enlightenment before Nietzsche . French surrealists admired the literary and philosophical creativity of the nobleman at the beginning of the 20th century and gave him the nickname "Le Divin Marquis" ("The Divine Marquis"), in allusion to the Italian Renaissance poet Pietro Aretino , known as "The Divine Aretino" , known for his erotic sonetti lussuriosi .

All the surrealists were led by Guillaume Apollinaire , who glorified him with a superlative formula :

Le marquis de Sade, cet esprit le plus libre qui ait encore existé ...

" Marquis de Sade, this freest spirit that has ever existed ."

- Guillaume Apollinaire: Les Diables Amoureux , p. 264

In contrast, in 1947 the writer Maurice Blanchot gave a devastating verdict on the double novel Justine and Juliette of aristocratic libertine:

“ This monumental work terrified the world from the start. If libraries have an enfer , it is for a book like this. Certainly no literature, no age has such a scandalous work to show. No other work has hurt people's feelings and thoughts more deeply ... We have here the most offensive work that has ever been written ... [as Rousseau said] Every young girl who reads even a page of this book is lost . "

Sade's work influenced important movements in literature and the visual arts.

Life

Origin and first name

Jean-Baptiste-François-Joseph de Sade , father of Donatien Alphonse François de Sade, based on a painting by Jean-Marc Nattier

The Sades were an old, if no longer wealthy, noble family of Provence , which originally had the title of count (French comte ). The grandfather Gaspard-François de Sade used the higher title Marquis as the first family member and called himself Marquis de Sade or Marquis de Mazan . Although Sade's father preferred the title Comte, Donatien mostly called himself Marquis de Sade.

Sade was born in the Paris city palace of the Condés, a side line of the Bourbon royal family , with whom his mother Marie-Eléonore de Maillé de Carman was related. His father, Jean-Baptiste-François-Joseph de Sade , a field marshal and important ambassador, had ruined his reputation at the royal court by overly open criticism, but was also known as a lover and wrote a number of novels and plays, which he never published. Donatien's aunts included two abbesses and two nuns.

The correct form of Sade's first name is not entirely clear, as he gave different first names on various occasions:

  • His mother had intended the baptismal name Louis Alphonse Donatien. This is what he called himself during an interrogation in 1768.
  • He was baptized Donatien Alphonse François.
  • In his marriage contract he is called Louis Aldonse Donatien.
  • On his flight from the police to Italy (1772), accompanied by his sister-in-law and lover Anne-Prospère Launay, Donatien Alphonse François traveled under the guise of Comte de Mazan .
  • During the revolution, he simply called himself Louis Sade without a title of nobility .
  • In 1794 he gave the name François Aldonse Donatien Louis.

Childhood and youth

Sade spent his early childhood in the Paris city palace of the Condés under the supervision of Charles de Bourbon-Condé, comte de Charolais , a well-known libertine and peer of France , whom he later mentions often in his writings. Later he grew up partly with his uncle Jacques-François-Paul-Aldonce de Sade at Saumane Castle , partly in Paris, where he attended the Collège Louis-le-Grand from the age of ten to fourteen and then went through an officers' school for young aristocrats. De Sade, about twelve years old, was such a handsome boy that the women stopped in the street to stare at the boy. At 14 he became an officer candidate with the Chevau-léger de la garde du roi and took part two years later as an officer in the carbine regiment in the Seven Years' War (1756–1763). In 1759 he moved to the Royal Bourgogne cavalry regiment . He was promoted several times during the war and received an award for bravery before the enemy.

Wedding and first scandals

Renée Pélagie Cordier de Launay de Montreuil, wife of de Sades.

In the meantime, Donatien de Sade's father had negotiated a good match for his son. The chosen bride was the twenty-two-year-old Renée-Pélagie Cordier de Montreuil, daughter of the Paris tax court president and his feisty wife, Marie-Madeleine, known as La Présidente . The Montreuils wanted to use a substantial dowry to marry their daughter Renée-Pélagie to a member of a prestigious noble family. Since Sade fulfilled this criterion, he seemed to be the ideal son-in-law for the Montreuils. In order to improve the financial circumstances of his family, father Sade signed his son's marriage contract on May 15, 1763.

The wealth he had acquired through marriage enabled Donatien de Sade to lead a dissolute life that would soon go beyond the scope of what aristocratic libertines were willing to accept at the time . As was quite common among members of his class at the time, Sade had relationships with actresses and courtesans , although at the time the two professions were hardly ever really distinguishable from one another. Courtesans and actresses were considered the "aristocracy of prostitution" and Sade always seems to have treated these women according to the etiquette that was prevalent at the time.

But he also made use of women from the common people, whom he did not treat at all as properly as the representatives of the aristocracy of prostitution. In the year of his wedding to Renée Pélagie, the first of many other scandals occurred in Paris, when Sade apparently demanded blasphemous acts from a certain Jeanne Testard in addition to sex . Sade was briefly arrested for the first time by Inspector Louis Marais, through which he met a man who would become something of a nemesis for him for the next twenty-five years . Marais' police report on the incident is also the only reliable description of the young husband and aristocrat. Sade was, wrote Inspector Marais, "of average height", had "blue eyes and dark blond hair", his face was "oval and pretty" and his figure was slim.

Sade repeated orgies in Paris and on his country estate in Lacoste (also La Coste ) , to which he either invited and rewarded members of both sexes or simply forced them to participate because of his position.

Anne-Prospère Cordier de Launay de Montreuil, sister-in-law and lover of the Marquis des Sade.

In 1769 he began a love affair with his sister-in-law, Anne-Prospère Cordier de Launay de Montreuil, his wife's younger sister. This emerges from the passionate love letter of the seventeen-year-old canoness dated December 15, 1769, which she signed with her blood. The Romanist Maurice Lever published this letter in 2005. The de Sade family had given him access to the correspondence of their infamous ancestor:

Je jure à M. le marquis de Sade, mon amant, de n'être jamais qu'à lui, de ne jamais ni me marier, ni me donner à d'autres, de lui être fidèlement attachée, tant que le sang dont je me sers pour sceller ce serment coulera dans with veins. Je lui fais le sacrifice de ma vie, de mon amour et de mes sentiments, avec la même ardeur que je lui ai fait celui de ma virginité. ... Je lui permets en outre de faire tout l'usage qu'il voudra contre moi dudit serment, si j'ose enfreindre la moindre clause par ma volonté ou mon inconscience.
[Signé avec du sang.]. De Launay. December 15, 1769.

" I swear to the Marquis de Sade, my lover, that I will belong to him forever, never to marry anyone else, nor to surrender myself to others, and to remain faithful to him as long as the blood with which I seal this vow runs through my veins. I sacrifice my life, my love and my feelings to him with the same ardor with which I sacrificed my virginity to him. ... Should I violate even the slightest clause of this oath, willingly or unconsciously, I allow him to make use of this oath against me whenever he pleases.
[Signed in blood.]. De Launay. December 15, 1769. "

- Maurice Lever : "  Je jure au marquis de Sade, mon amant, de n'être jamais qu'à lui ...  ", Fayard Paris 2005, p. 30-31.

Escape and imprisonment

Sade was arrested again in 1768 on the basis of allegations made by a certain Rose Keller that she had been kidnapped by him under false pretenses, arrested and severely abused by flogging . However, after Sade paid the woman compensation, she refrained from filing a lawsuit.

In 1772 two prostitutes from Marseille complained that Sade had poisoned them with cantharidin candy , an alleged aphrodisiac , and thus made them submissive to group sex and anal intercourse . Sade was therefore charged and sentenced to death in absentia.

The Marquis escaped the trial and the execution of the sentence by fleeing to Italy. Since he had secretly taken his young sister-in-law Anne-Prospère with him and thereby dishonored him, the families dropped him. His mother-in-law, the president , obtained a royal arrest warrant ( lettre de cachet ) against him, so that he was arrested on his return to Paris in 1777 and imprisoned without further trial in the Vincennes fortress, which served as a prison until 1784 , Sade insisting on from none other than Louis Marais to be escorted to Vincennes. The death sentence imposed in 1772 was overturned in 1778.

Writer behind bars

After attempting to escape in 1784, he was transferred to the Paris city fortress, the Bastille , where he remained incarcerated for another five and a half years.

Intellectually, the years in the Bastille were definitely fruitful for Sade, as he could have books brought and read. During his imprisonment in the Bastille, he finally became the Homme de lettres . His central works from this period are Les cent-vingt jours de Sodome ( The 120 days of Sodom ), 1785; Aline et Valcour ou Le Roman philosophique (Aline and Valcour or Der Philosophische Roman), 1786, a travel novel in letter form and Les Infortunes de la vertu (The unfortunate fates of virtue), 1787, a philosophical tale that Sade wrote about the novel in 1791 Justine ou les Malheurs de la vertu ( Justine or of the Adversity of Virtue) expanded. Because of the religious and moral offense of these works, he wrote the texts secretly and, in order not to attract attention through excessive paper consumption, in tiny font.

Numerous plays were also created during these years. However, his conviction that he was a great playwright was not confirmed. During his lifetime, only one of his pieces, Le Comte Oxtiern ou les Effets du libertinage (The Count Oxtiern or the Effects of Immorality), was performed (1791) and only one was printed.

Revolution and re-arrest

Two weeks before the storming of the Bastille , the captured Marquis de Sade is said to have yelled at a crowd demonstrating in front of the fortress that prisoners were being murdered in the Bastille. This emerges from a letter that the last governor of the Bastille Launay addressed to the Minister of State Villedeuil on July 2, 1789. It says:

Le comte de Sade s'est mis hier midi à sa fenêtre, et a crié de toutes ses forces, et a été entendu de tout le voisinage et des passants, qu'on égorgeait et assassinait les prisonniers de la Bastille, et qu'il fallait venir à leur secours ... Je crois devoir vous représenter, Monseigneur, qu'il serait bien nécessaire de transferer ce prisonnier à Charenton, où il ne pourrait pas troubler l'ordre.

“ The Count of Sade went to the window yesterday at noon and shouted with all his might that the prisoners of the Bastille should be slaughtered and murdered and that they should be rushed to their aid, which the entire neighborhood and passers-by have heard ... I believe, Your Excellency, you to have to suggest that this prisoner be transferred to Charenton , where he cannot disturb public order . "

- Jean-Jacques Pauvert : Sade vivant . Tome 2: ... «Tout ce qu'on peut concevoir dans ce genre-là. »1777–1793 . P. 511.

After the incident, Sade was transferred to the lunatic asylum of Charenton (near today's Saint-Maurice ). The manuscript of the 120 days of Sodom , which had been kept in hiding, remained behind and seemed lost for a long time. Since he was now considered insane, his wife could file for divorce without having to fear loss of honor.

In 1790, when the Lettres de cachet were abolished under the regime of the Directoires , the citizen Sade enjoyed freedom. He was now politically active and - despite his aristocratic origins - joined the radical Jacobins .

1791, on June 25th, after the failed escape of the king, he had a memorandum written by himself in the carriage of Louis XVI. throw the address d'un citoyen de Paris au Roi des Français ( address of a citizen of Paris to the King of the French). In it he accuses the monarch of having torn the sacred bond of trust between himself and his people by fleeing:

Que venez-vous de faire, Sire? Source action avez-vous commise? À quel point vous êtes-vous permis d'induire un peuple entier dans la plus affreuse unerur. Jusqu'à présent, & depuis les commencemens de la Monarchie, l'opinion chérie de ce peuple étoit que si la bonne-foi, si la loyauté, si l'honneur s'exilaient de dessus la terre, c'étoit dans le cœur des Rois que leur Temple devoit se retrouver; cette illusion n'est plus possible, vous la détruisez, Sire, et d'une manière bien cruelle sans doute .

“ Sire , what have you done? What act did you commit? How could you allow yourself to lead a whole people terribly astray? From the origins of the monarchy until today, the people loved the thought that righteousness, loyalty and honor, even if driven from the earth, would be in the hearts of kings, their temple. This hope is no longer possible, you are destroying it, Sire, in the most cruel way. "

- Wikisource, facsimile page 1

In 1791, at the Théâtre Molière , his play Oxtiern, ou les Malheurs du libertinage was premiered.

In 1792, the premiere of his Kömödie L'homme dangereux ou le Suborneur (The Dangerous Man or The Seducer) ended with a commotion.

In 1793 he was elected judge of a Parisian revolutionary tribunal and president of the revolutionary Parisian administrative district of the Section des Piques .

On November 15, 1793, he wrote the Pétition de la Section des Piques aux représentans (sic!) Du peuple français . While vice is rewarded and virtue is punished in Sade's novels, Sade praises republican virtues in this petition from the Piquen section. The "ci-devant Marquis" (formerly Marquis) calls for the conversion of all Christian churches into "temples of virtue and reason":

Qu'une fois par décade, la tribune de ces temples retentisse des éloges de la Vertu. ... Ainsi l'homme s'épurera.

“ Once a week, may the praise of virtue be heard in these temples. ... In this way man will be purified . "

- Sade: Petition de la Section des Piques aux représentans du peuple français. BNF Gallica , pp. 4-5.

As a revolutionary judge, he saved his in-laws from the guillotine by placing them on a so-called purification list. In 1794 he fell into political sideline, was considered too moderate in his judicial office and was charged on the pretext of having once applied for service in the royal guard. He was detained for more than a year and was sentenced to death again. Robespierre's overthrow on July 28, 1794 saved him from executing the sentence .

Stay in Charenton and death

Il envoya le roman dans les flammes ("He threw the novel into the flames"): Napoleon Bonaparte throws a copy of the novel Juliette into the fire.

Napoléon Bonaparte , first consul of the French Republic since 1799 , is credited with arresting Sade in 1801. On March 6, 1801, the police carried out a house search of his publisher and then of him. Several of Sade's manuscripts and books were found and confiscated from the publisher. The publisher and Sade were arrested. The publisher was promised freedom if he revealed the hiding place of the printed copies of the book Juliette - he was released after 24 hours. The 1,000 or so books were confiscated and burned. Bookstores were also found that sold this book. Sade was officially accused, without trial, of authoring the books Justine and Juliette and was placed in Sainte-Pélagie prison. At the beginning of 1803 he wanted to abuse fellow prisoners there and was then transferred to the Bicêtre prison. In April 1803 his family was placed in the asylum of Charenton-Saint-Maurice (insane asylum), which he did not leave again until his death. Napoleon's Police Minister Joseph Fouché , who also had Sade secretly monitored in Charenton, insisted on Sade's arrest again . Sade's old acquaintance Inspector Louis Marais was at least temporarily involved in the surveillance. In Charenton, Sade initially enjoyed humane treatment. He wrote the biographical novels La Marquise de Gange (printed in 1813) and - both only published posthumously - Adélaïde de Brunswick, princesse de Saxe (1812) and Histoire secrète d'Isabelle de Bavière (1813). In addition, he was allowed to perform several theater plays with prison inmates as actors, but none of them were his own. Towards the end of his life he was given solitary confinement with isolation and writing forbidden on the personal orders of Police Minister Fouché.

The version according to which the arrest took place on charges of accusation and personal vengeance because a satire was written on Napoléon Bonaparte in 1800 , Zoloé et ses deux acolytes ou Quelques Decades de la Vie de trois Jolies Femmes , which Sade was awarded, was in the biography Michaud ( 1811) was first disseminated and adopted by subsequent authors without review. It could not stand up to re-examination because the satire cannot be attributed to Sade.

On August 15, 1808, his younger son married Donatien-Claude Louise-Gabrielle-Laure de Sade, who belonged to a side branch of the Sade family . On June 9, 1809, his elder son Louis-Marie died. Sade was visited in Charenton by his son Donatien-Claude.

He died on December 2, 1814 at the age of 74 in the Charenton-Saint-Maurice insane asylum. In the death certificate, Sade's profession is indicated with homme de lettres , i.e. writer.

After Sade's death, Donatien-Claude, who rejected his father's atheism, burned his father's last great work, Les journées de Florbelle ou La nature dévoilée , which has therefore not been preserved. Sade's tombstone contained the inscription:

“You who pass by, kneel down and pray next to the most unhappy of the people. He was born in the past century and died in this. The despotism with his ghastly main led at all times war against him. Under the kings, this monster took control of his entire life. It survived under the reign of terror and drove Sade to the edge of the abyss. It returned under the consulate, and again Sade is its victim. "

The grave can no longer be located today, although Maurice Heine was still able to decipher the inscription in the 1920s.

Descendants

Among his descendants, Sade became a taboo subject within the Sade House . It was not until the 20th century that Xavier de Sade confessed to his ancestors for the first time, opened the family archive to researchers and again publicly bore the title of Marquis.

Although there are some engravings that purport to show Sade, no authentic image of him has yet been proven.

Literary work

Illustration from a Dutch edition by Juliette von de Sade, ca.1800
Illustration from the 1795 edition of Aline and Valcour

Sade research traditionally postulates a division of the entire work into dramatic and narrative texts, “ into an exoteric , moralizing, dramatic and an esoteric , immoralistic narrative part. . "

Sade began writing in 1769 with travel descriptions. After his imprisonment, he intensified his work as a writer. In 1782 he completed the dialogue between a priest and a dying person, in which a dying free spirit can convince a priest of the worthlessness of a godly life.

Sade's fate of not marrying the woman he loved inspired his first great work, the epistolary novel Aline and Valcour (written 1785–1788, published 1795). But it goes far beyond the initial topic and is a kind of compendium of enlightening topics and narrative forms, the draft of a utopian state contained therein is particularly well known : the South Sea island of Tamoe .

In his unfinished episodic novel The 120 Days of Sodom , which he wrote as a prisoner from 1785 (and which was only rediscovered by Iwan Bloch in 1904 and published in 1909), he outlines a 120-day orgy of violence and a wide range of sexual practices that he divorced from his Execute protagonists on a group of kidnapped and enslaved youths of both sexes. The novel was in 1975, with installation of the plot in the period of Italian fascism , by Pier Paolo Pasolini filmed .

In 1791, Sade published Les Infortunes de la vertu ( The misfortune of virtue ), an early version of the book Justine, also published in 1791 . In it, de Sade describes the life of a girl who, in spite of continual misfortunes, firmly believes in virtue. In 1796 he added Juliette to this novel , the description of the life of Justine's sister, who finds happiness as a courtesan, criminal and “non-virtuous” person. In 1797 both novels appeared anonymously, completely revised, in ten volumes with 4000 pages and over one hundred copperplate engravings under the title Die neue Justine / Geschichte von Juliette .

Other works from the revolutionary period were The Philosophy in the Boudoir (1795) with the political pamphlet French, another effort if you want to be a Republican , the short story collection Crimes of Love (1800) and a series of plays. In the insane asylum in Charenton, de Sade wrote the biographical novels La Marquise de Gange (printed in 1813) and - both only published posthumously - Adélaïde de Brunswick, princesse de Saxe (1812) and Histoire secrète d'Isabeau de Bavière (the secret story of Isabella by Bavaria, 1813).

Probably the most widespread of his works is Les instituteurs immoraux ou La Philosophie dans le boudoir (= the immoral teachers or the philosophy in the boudoir, 1795), which was translated into German in 1878 as the first Sade text:

“It depicts the sexual and intellectual initiation of a noble young girl, which takes about an afternoon and evening, by a noble woman and two noble men plus a well-endowed farm boy. The four main characters hold philosophical conversations during the necessary breaks in which the homosexual hedonist and atheist Dolmacen stands out as the "immoral schoolmaster" (and largely as the mouthpiece of the author). Leitmotif of his philosophy is the well of d'Holbach idea adopted from the right of the individual to his wishes imitate what Sade interpreted as a right to a social and intellectual elite - uninhibited to follow their desires for pleasure - in the end of the aristocracy, which he feels he belongs. "

- Gert Pinkernell : names, titles and dates of the French literature

The pornographic passages of Sade's texts describe in great detail all imaginable as well as many sexual acts that are difficult to imagine. Sade cannot therefore be reduced to “sadism” as a limited set of practices. For him, gaining pleasure from the pain of others is only the clearest way in which human sexuality is structured in all its forms.

Naturally, de Sade's writings always struggled with censorship . Some of them were in the London “Directory of Forbidden Books” by Pisanus Fraxi (“Index librorum prohibitorum”, London 1877). The philosophy in boudoir was indexed in 1963 by the Federal Testing Office for writings harmful to young people (later repealed).

Sades philosophical sources

Satanic influences on de Sade from the perspective of the Christian restoration period (painting from 1830)

The most important philosophical sources for Sade were Holbach , LaMettrie , Machiavelli , Montesquieu and Voltaire . The last two scouts were personal acquaintances of his father.

Sade has read (or at least borrowed) works by the following authors: Bible , Boccaccio , Cicero , Dante , Defoe , Diderot , Erasmus , various historical works, Hobbes , Holbach , Homer , La Mettrie , Molière , Heloise & Abälard , Linnaeus , Locke , Machiavelli , Martial , Milton , Mirabeau , Montaigne , Montesquieu , Morus , Rabelais , Racine , Radcliffe , Richelieu , Rousseau , Abbé Sade , Louis-Marie de Sade, Sallust , Seneca , Staël , Sueton , Swift , Tacitus , Virgil , Voltaire , Wolff , Jean -Baptiste-François-Joseph de Sade .

The most important were the following works:

Ratings

Many important authors have tried to evaluate Sade, including Arthur Rimbaud , Charles Baudelaire , Albert Camus , Simone de Beauvoir , Roland Barthes , Jacques Derrida and Michel Foucault or Susan Sontag and Angela Carter , but also the conservative American literary critic Roger Shattuck .

Sade's works were always controversial, with a more nuanced view of his work gradually gaining ground over the course of the time that has passed since his death. However, there are still reviewers at the end of the 20th century, such as the publicist Ernst Ulitsch, who describe him as the " blood coughing of European culture ".

In any case, Sade's texts had a decisive influence on the artistic movements of fin de siècle , decadence , symbolism and surrealism . Within the entertainment literature, Sade's influence can still be observed today in the horror literature, the modern successor to the Gothic novel , or the horror film genre . While representatives of the early horror novel such as Anne Radcliffe or William Beckford are almost forgotten today, Sade's work, along with that of his contemporaries Percy Bysshe Shelley , Lord Byron and Mary Shelley, remained present in literature and its reception right into the modern era and could already from this presence to develop its influence.

Sade's self-image as a representative of the Enlightenment is also undisputed today , which, although he was not the first but the most prominent representative of his time, wanted to see it made effective in the sexual sphere. At least Pierre-Ambroise-François Choderlos de Laclos preceded him with his dangerous love affairs.

The preferred positions of Sade's libertine protagonists may be atheism , materialism , naturalism , determinism , amoralism or ethical egoism , but Sade seldom forgot to contrast every position just postulated with a counter-opinion, which makes it difficult to arrive at a valid, homogeneous overall view of these aspects of his work.

The Albert Camus writes in his book Man in revolt : "Two centuries in advance has Sade totalitarian society celebrated on a smaller scale in the name of geratenen mad freedom. With him actually begins contemporary history and tragedy. ”Camus attests to Sade references that were later defined under the term social Darwinism , as well as the propagation of free love , co-education and the decriminalization of certain sexual practices such as bisexuality and homosexuality .

Angela Carter - and subsequently the literary critic Francine du Plessix Gray - saw Sade as an early sexual educator. He recognized that sexuality should be equated with power struggle and domination and propagated pornography in the service of women. His non-conformist female figures are forerunners of the modern emancipated women. It bases this mainly with Sade's novels Justine and Juliette , but also with the fact that in Sade's The 120 Days of Sodom , but also in Philosophy in the Bedroom assaults both of women and of men both to women and to be committed men.

The journalist and porn producer Manuela Kay wrote about Sade's works “that here women are finally granted the right to fuck just as aggressively, tyrannically and cruelly as men. In short: that de Sade thus politicized sexuality. "

In addition to the literary and philosophical aspects, Sade's oeuvre was more influential, especially in the field of psychology , but was also disdained by the professional world like no other, according to Francine du Plessix Gray. She claims that more than 130 years before Sigmund Freud described a connection between the death instinct and the instinct for life with his Eros and Thanatos theory , Sade had already explicitly highlighted this phenomenon in his two novels Juliette and Justine .

reception

19th century

Even during his lifetime, Sade's work provoked writers and critics to sometimes violent reactions. Restif de la Bretonne wrote the novel Anti-Justine, ou les Delices de l'Amour in 1798 , which he conceived as an "antidote to Sade's theories".

If they existed at all, Sade's works were only kept under special protection in libraries during the first years after his death and were not made generally accessible. The reason for this was probably to be found primarily in their explicitly sexual content, less in Sade's radical philosophy.

During the restoration period in the first half of the 19th century, Sade was rated negatively, mainly because of its explicitly anti-Christian stance. He was accused of Satanism and saw in him nothing but a particularly reprehensible pornographer. However, it did not completely disappear from the consciousness of the literary world and is mentioned, for example, in Louis Gabriel Michaud's biography universelle ancienne et moderne in 1825 , albeit in a clearly derogatory sense.

The sharp-tongued stylist and critic Jules Janin also perceives the “smell of sulfur” as soon as he encounters Sade's name or work. However, this did not prevent Janin from writing L'âne mort et la femme guillotinée, a novel that has similarities with Sades Juliette , which can neither be described as satire nor as a copy. In any case, the design of the main female character shows the same clearly amoral traits that Janin rates Sade's work as repulsive, but here depicts with sympathy.

With the restoration, which began across Europe after Napoleon's end from 1820, Sade's work gradually disappeared from public reception. It developed an even more active effect in the underground. It was read by Swinburne and Edgar Allan Poe , whom it may have inspired some of his deeply dark stories such as The Pit and the Pendulum . But Thomas de Quincey must also have known parts of Sade's works.

Baudelaire mentions Sade's works and puts them in a context with Poe, whom he attests to having "stamped out love" in his novels. Baudelaire writes about Sade: "In order to understand evil, one must always return to Sade, that is, to the natural man."

But apart from the literary avant-garde of Rimbaud, Baudelaire, De Quincey , Swinburne or Edgar Allan Poe, the opinion-forming bourgeoisie publicly represented a sexual morality in the second half of the 19th century that did not allow a broader, even public, reception of Sade's works.

Sade's work received a new, sometimes more positive assessment again with the literary trend of symbolism , which was shaped by France, began around 1862 and later, after the 1920s, was to have a decisive influence on literary surrealism . In France, where symbolism began, it was closely linked, among other things, to a tendency towards decadence and the culture of the fin de siècle . Now Sade was received again in public, albeit cautiously. Auguste de Villiers de L'Isle-Adam knew Sade's works at least partially, as did his acquaintances Paul Verlaine , Charles Baudelaire and Joris-Karl Huysmans . Baudelaire even goes so far as to say that “love is very similar to torture or surgery”. A sentence that, like many similar remarks in Baudelaire's work, makes clear references to Sade, even without naming him directly.

After Charles Baudelaire, Stéphane Mallarmé , Paul Verlaine, Arthur Rimbaud and Maurice Maeterlinck were important representatives of French symbolism, sometimes more openly, sometimes more cryptic, with Sade's work and philosophy. This argument was not always positive. In later years, Joris-Karl Huysmans and Auguste de Villiers de L'Isle-Adam turned to a mystical Catholicism , which in some cases was difficult or impossible to reconcile with their earlier views and works.

The labor movement that was just emerging and its intellectual avant-garde could n't do anything with Sade as a member of the high nobility and alleged apologist of a social structure shaped by elites .

Nevertheless, Sade was by no means forgotten or ignored throughout the course of the 19th century, but exerted considerable influence on the most progressive and radical writers of the time.

20th century

In 1899 the doctor Iwan Bloch found parts of Sade's manuscript 120 days of Sodom , which was believed to be lost, and published a small edition of it in 1900 under the pseudonym Eugen Dühren as an alleged case study on Richard von Krafft from Ebings Psychopathia sexualis . In the foreword he expressed his enthusiasm for his find and called Sade “the most remarkable man of the 18th century”, whose reading is indispensable for anyone interested in human psychology.

In 1886, in his Psychopathia sexualis, Krafft-Ebing established the terms masochism and sadism for the sexual practices associated with them and regarded as psychological disorders . Today the term describes the medical (psychiatric) diagnosis of paraphilia , in which a person experiences (sexual) pleasure or satisfaction by humiliating, suppressing or causing pain to other people. The Viennese psychoanalyst Isidor Sadger finally coined the compound term "sado-masochism" for the first time in 1913 in his article on the sado-masochistic complex .

In 1901 a Dr. Jacobus X in a popular science book called Le marquis de Sade et son oeuvre devant la science médicale & la littérature moderne (“The Marquis de Sade and his works in the light of medicine and modern literature”) before the supposedly terrible effects of reading Sade's writings, which at that time were only available as bad black copies , expensive private prints or locked away in the poison cabinets of the libraries .

Guillaume Apollinaire , one of the founders of Surrealism , published some important parts of Sade's work for the first time in 1909 in the erotic book series Les Maîtres de l'Amour under the title L'Œuvre du Marquis de Sade . He gave the foreword , which he placed in front of his book, the title The Divine Marquis and thus created an epithet for the Marquis de Sade, which is still used today, especially in the French and English-speaking countries.

For the surrealists, Sade was a central figure. What attracted the representatives of surrealism to him so much was Sade's inflexible sexual and intellectual permissiveness, his ruthless search for absolute pleasure and his contempt for the traditional values ​​of the church, the nuclear family and the authoritarian state.

It was also Apollinaire who persuaded the esthete Maurice Heine to make the manuscript of the 120 days of Sodom from Berlin, where it had been published by Bloch, accessible again to Sade's homeland, which in 1929 and 1930 was very small Edition happened. Until the outbreak of the Second World War, Maurice Heine and his supporter Viscount Charles de Noailles collected further writings and documents of the Marquis de Sade from libraries and private collections in order to make them accessible for publication. After Maurice Heine's death, the editor Gilbert Lely continued his mission, who viewed Sade as a moralist whose "intellectual depth was not even surpassed by the genius of Friedrich Nietzsche".

In a study of the German writer Ernst Jünger , the literary scholar Karl Heinz Bohrer also pointed out that de Sade's influences can be demonstrated in Jünger's surrealist works from the 1920s (especially The Adventurous Heart ).

Since the late 1920s, Sade began to be more openly received. Since then he has been seen more as an educator than a mere pornographer.

In 1934 Erich Fromm reviewed Geoffrey Gorer's book The revolutionary ideas of the Marquis de Sade for the Zeitschrift für Sozialforschung , the organ of early critical theory , and enthusiastically saw Sade as an important enlightener .

Horkheimer and Adorno called for the Enlightenment to enlighten themselves about themselves: the human reason , which the Enlightenment invokes against the mere belief in religious revelation , can act morally free as a cynical purposeful rationality and thus torpedo the humanistic ideals of some Enlightenmentists. In Dialectic of the Enlightenment (1944) you see in Sade (with his work Juliette ) as well as in Nietzsche such a radical Enlightenment philosopher who stands in opposition to Kant .

In his 1947 essay Sade mon prochain ( Sade my neighbor ), the French writer and Nietzsche translator Pierre Klossowski viewed the world of thought of the Marquis as an outbreak of the “anthropomorphic” reason propagated from the age of the Enlightenment and as an “attempt at a theological discussion of the Empty formula to lead God, and to make visible the difficulty of creating a godless society without an executioner. "

Simone de Beauvoir wrote in her essay Should one burn Sade? Sade's writings are examined from the perspective of a philosophy of freedom that preceded existentialism by some 150 years. With their focus on sexuality as a driving force, Sade's ideas were sometimes also interpreted as a forerunner of Sigmund Freud's psychoanalysis . But even she could not completely escape the fascination of breaking taboos that were still associated with Sade's writings. It is "Sade's tremendous merit to have proclaimed the truth of man against every defense mechanism of abstraction and alienation". Three months earlier (September 1951) Albert Camus ' work Man in the Revolte had appeared, in which the Marquis de Sade takes up a remarkable amount of space. Camus certifies Sade to have "summarized the arguments of the free thinkers in a single enormous war machine". The psychoanalyst Jacques Lacan came to the conclusion that de Sade's ethics represent the complementary addition to the categorical imperative formulated by Immanuel Kant .

In 1979, Angela Carter, in The Sadeian Woman: And the Ideology of Pornography, described Sade as a terrorist of the imagination , but also ascribes to him the knowledge that "a free woman in an unfree society becomes a monster" and continues to work out, that Sade is clearly a moralist among pornographers and in his work “can believe in the possibility” that one day “the triune male authority symbol ruling in the form of God, King and Law can finally take its leave”.

Following a similar line of reasoning, Susan Sontag defended both Sade and Georges Bataille's Histoire de l'oeil in her 1967 essay The Pornographic Imagination . Sontag is of the opinion that the works of both authors describe transgressive ideal images, as conventional thoughts and realities are exceeded in them and should therefore not be censored.

In contrast, Andrea saw Dworkin de Sade as the exemplary women-hating pornographer who supported her thesis that pornography inevitably leads to acts of violence against women. In 1979 she dedicated a chapter of her book Pornography: Men Possessing Women to an analysis of Sade. Susie Bright argues that Dworkin's first story, Ice and Fire , whose central themes are violence and abuse, should be viewed as a modern retelling of Juliette .

The play by Peter Weiss The persecution and murder of Jean-Paul Marat, performed by the inmates of the Charenton asylum under the direction of the Marquis de Sade , or “Marat / Sade” for short, takes up the figure of Sades and uses him as individualistic and resigned Counterpart to Jean-Paul Marat .

For conservative Christians, Sade was and is considered evidence of the connection between the Enlightenment and amoralism . In 1980 the Catholic Academy in Bavaria warned of Sade as an “enlightened spirit” at the “Tendenzwende” congress.

The as Christian- conservative force in cultural studies and literary critic Roger Shattuck argued in his 1996 book Forbidden Knowledge not indeed more for it to burn Sade about, but also not to celebrate him as a "new classic", but it "extremely cautious accessible" to do.

Visual arts

  • Man Ray painted the picture Imaginary Portrait of DAF de Sade in 1938 .
  • Clovis Trouille repeatedly dealt with Sade in his paintings. a. Voyeuse .
  • Guido Crepax and Justine created a graphic novel based on de Sade's novel Justine in 1979 .
  • Johannes Grützke dedicated an etching portfolio to de Sade in 1990 with the title From the life of the Marquis de Sade .
  • In 2000 the Dutch musician The Prophet used the pseudonym MarQuiz De Sade.
  • From October 2014 to January 2015, the Musée d'Orsay in Paris showed the exhibition Sade as a tribute to the 200th anniversary of the Marquis' death . Attaquer le soleil . For this purpose, the two curators Annie Le Brun and Laurence des Cars collected around 500 works of art that were influenced by the author's ideas.

Movies

The work and life of de Sade have inspired several filmmakers. In addition to a large number of pornographic films, there are also several mainstream productions that deal with him and the literature he has created:

Fiction

  • Sibylle Knauss : The Marquise de Sade - novel of a marriage . Hoffmann & Campe, 2006 (fictionalized approach to Sade's marriage and life story).
  • Nikolaj Frobenius : The anatomist . Luchterhand, 1998.
  • Jacques Chessex : The skull of the Marquis de Sade . Nagel & Kimche, 2011.

Stage plays

  • 1963: Peter Weiss : Marat / Sade
  • 1965: Mishima Yukio : Madame de Sade . German translation: Kai Molvig.
  • 1995: Doug Wright : Quills stage play it later as a template for the eponymous film with Michael Caine and Kate Winslet served
  • 2002: The stage play XXX by the theater group La Fura dels Baus relates to the work The Philosophy in the Boudoir . The performance in Germany was rated as a scandal by the daily press in some cities (for example Hamburg), in particular because of the open presentation of oral sex on stage, in which visitors from the audience were also included. Performances in other cities (for example Frankfurt) remained without any noteworthy press response.
  • 2006: Man is a beautiful bad animal. Marquis de Sade . Cross-genre action theater by Gregor Seyffert , world premiere: June 2, 2006 in the Vockerode power plant
  • 2017: Milo Rau : The 120 Days of Sodom . The play premiered on February 10th at the Schauspielhaus Zurich and sparked controversy because the actors are actors in the theater group Hora, a theater project for people with intellectual disabilities.

Prix ​​Sade (Literature Prize)

After the inclusion of Sade's works in the renowned Bibliothèque de la Pléiade (Édition Michel Delon, 3 vols., 1990–1980), the French starry sky of literary editions , another highlight was the rehabilitation of the “most notorious author of all time” Creation of a literary prize named after him.

In 2001, Frédéric Beigbeder and Lionel Aracil launched the Prix ​​Sade , a literary prize intended to honor unconventional authors. The 2013 Prix Sade laureate was the French writer Jean-Baptiste Del Amo . He received the trophy, a martinet , a multi-strap whip signed by the jury , for his novel Pornographia . In 2018, Jonathan Littell , a French-American writer ( Prix ​​Goncourt 2006, The Well-intentioned ) received the Pix Sade for his novel An Ancient History .

literature

Primary literature

French editions of works
  • Œuvres complètes du Marquis de Sade , édition établie par Gilbert Lely , book club Cercle du Livre précieux, Paris 1962, 15 volumes.
    • New edition: Œuvres complètes du Marquis de Sade , édition définitive, établie par Gilbert Lely, Cercle du Livre précieux, Paris 1966–1967, 16 volumes. (Volume 16 contains Sade's report on his second trip to Italy (1775/76), Le Voyage d'Italie ).
  • Œuvres complètes du Marquis de Sade , édition mise en place par Annie Le Brun and Jean-Jacques Pauvert , 1986–1991, 15 volumes. (Volumes 13, 14 and 15 comprise Sade's dramaturgical work.)
  • DAF de Sade: oeuvres . 3 volumes, Paris: Gallimard, Bibliothèque de la Pléiade , 1990–1998, edited by Michel Delon

" With the excellently commented three-volume selection edition in the Bibliothèque de la Pléiade (1990–1998), the long ostracized Homme de lettres finally reached the Olympus of French literature ."

- Volker Reinhardt : De Sade or The Measurement of Evil. A biography . P. 390
Tome I: Bibliothèque de la Pléiade, n ° 371, Édition Michel Delon, October 5, 1990, ISBN 2-07-011190-3 :
Dialogue entre un prêtre et un moribond - Les Cent Vingt Journées de Sodome ou L'École du Libertinage - Aline et Valcour ou Le Roman philosophique .
Tome II: Bibliothèque de la Pléiade, n ° 418, Édition Michel Delon, July 20, 1995, ISBN 2-07-011351-5 :
Les Infortunes de la vertu - Justine ou Les Malheurs de la vertu - La Nouvelle Justine ou Les Malheurs de la vertu .
Tome III: Bibliothèque de la Pléiade, n ° 449, Édition Michel Delon / Jean Deprun, September 24, 1998, ISBN 2-07-011352-3 :
Philosophy in the boudoir - Histoire de Juliette .

(See: Review in German by Hans-Ulrich Seifert (Trier): "Le Temps est sans doute venu ..." Notes on the first volume of the "Œuvres" of the Marquis de Sade in the Bibliothèques de la Pléiade , in: Romanist magazine for history of literature, 15th year 1991, issue 3/4, pp. 442–451.)

  • Le Théâtre des Sade , éd. by Jean-Jacques Brochier, Verlag Jean-Jacques Pauvert, 1970, 4 volumes.
German editions of works

The first reliable German edition was published by Marion Luckow and appeared in 3 volumes in 1962 by Merlin-Verlag, Hamburg. It is also the basis for the following edition:

  • Selected works . Volume 1-6. Fischer Taschenbuch, Frankfurt 1972 (TB No. 1301–1306)
  • Justine and Juliette - this carefully annotated new translation of the complete text of Sade's double novel was the work of Stefan Zweifel and Michael Pfister. It was published in ten volumes from 1990–2002 by the Matthes & Seitz Berlin publishing house , with essays by various authors in ten volumes.
  • Collected Works . Stephenson Verlag, Flensburg 1979. One volume. Quite inadequate, uncommented reading edition, which mainly contains shorter stories and the "Justine". Otherwise none of the major works.
  • Works. A selection . Kurt Desch Verlag, Basel 1965. One volume. Selected, translated, with documentation and afterword by Gerd Henninger.
  • Works in five volumes . Könemann Verlag, Cologne 1995. Edited by Bettina Hesse. Contains the most important major works.

Secondary literature

Bibliographies
  • Dieter Gerstmann: Bibliography French. Volume 2: Authors. L – Z , Ibidem Verlag, Stuttgart 2019, ISBN 978-3-8382-1372-9 , p. 585: Sade, Marquis de - limited preview in the Google book search
  • Guillaume Apollinaire : Essai Bibliographique sur les Œuvres du Marquis de Sade , 1909 - on (French) Wikisource .
  • Colette Verger Michael: The Marquis de Sade. The man, his works, and his critics. An annotated bibliography (= Garland Reference Library of the Humanities, 469). Garland, New York NY 1986 ISBN 0-8240-8998-7
  • Hans-Ulrich Seifert: Literature by and about de Sade in German 1791–1989 , in: Hans-Ulrich Seifert, Michael Farin : Marquis de Sade: “Man is evil.” An erotic-philosophical reader . Heyne General Series, No. 01/7708, Munich 1990, ISBN 3-453-04354-5 , pp. 273-350.
Biographies
  • Anonymous : Le Marquis de Sade, ses aventures, ses oeuvres, passions mystérieuses, folies érotiques . Anthème Fayard, Paris 1885: in the BnF catalog
  • Laurence L. Bongie: Sade. A Biographical Essay . University of Chicago Press, Chicago IL a. a. 1998, ISBN 0-226-06420-4 .
  • Otto Flake : Marquis de Sade. With an appendix on Rétif de la Bretonne . With 2 necrologists on Otto Flake by Rolf Hochhuth , unabridged edition dtv 379, Munich 1966.
  • Stéphanie Genand: Sade , Gallimard (Folio biographies), Paris 2018, ISBN 978-2072694028 - reading sample
  • Geoffrey Gorer: The life and ideas of the Marquis de Sade . Panther Books, London 1963
  • Raymond Jean: A Portrait of the Marquis de Sade . Translated from the French by Nicolaus Bornhorn. Schneekluth, Munich 1990, ISBN 3-7951-1150-1 .
  • Walter Lennig: Marquis de Sade. With personal reports and photo documents (= Rowohlt's monographs. RM 50108). 9th edition. Rowohlt, Reinbek bei Hamburg 2002, ISBN 3-499-50108-2 .
  • Gilbert Lely : Vie du marquis de Sade. Tome Premier: De la Naissance à L'Evasion de Miolans 1740–1773 , Gallimard 1952.
    • Vie du Marquis de Sade. Avec un examen de ses ouvrages. Tome Second. Des Années Libertines de La Coste au Dernier Hiver du Captif 1773–1814 , Gallimard, Paris 1957.
    • German: Life and work of the Marquis de Sade . Albatros, Düsseldorf 2001, ISBN 3-491-96025-8 .
  • Maurice Lever : Donatien Alphonse François, marquis de Sade . Fayard, Paris 1991, ISBN 978-2-213-61688-9 .
  • Marion Luckow: Biography , in: Donatien Alphonse François Marquis de Sade: Selected works . Volume 6: The Days of Florbelle. Personal notebooks [u. a.] (= Fischer pocket books . 1306). Published by Marion Luckow. Fischer-Taschenbuch-Verlag, Frankfurt am Main 1972, ISBN 3-436-01585-7 , pp. 343-386. (A detailed biography emphasizing the revolutionary years and his anti-clericalism.)
  • Jean-Jacques Pauvert : Sade vivant . 3 volumes. Robert Laffont, Paris 1986–1990. (French, review by Martine de Rougement, in: Dix-huitième Siècle, n ° 26, 1994. Economie et politique. pp. 661–662 - Persée )
    • Volume 1: Une innocence sauvage ... 1740–1777 . 1986, ISBN 2-221-05205-6 .
    • Volume 2: ... «Tout ce qu'on peut concevoir dans ce genre-là. »1777–1793 . 1989, ISBN 2-221-05953-0 .
    • Volume 3: "Cet écrivain à jamais célèbre" ... 1793–1814 . 1990, ISBN 2-221-07014-3 .
    • German: The divine Marquis , 2 volumes, List Verlag, Munich 1991 ISBN 3-471-78426-8 .
  • Gert Pinkernell : Article in the name, title and dates of the French Literature - (A very concise biographical summary).
  • Francine du Plessix Gray: At Home With the Marquis de Sade. A life . Simon & Schuster, New York NY 1998, ISBN 0-684-80007-1 .
  • Volker Reinhardt : De Sade or The Measurement of Evil. A biography . CH Beck, Munich 2014, ISBN 978-3-406-66515-8 . - Review by Katharina Döbler: The Quentin Tarantino of the 18th century . On: Deutschlandfunk.de , July 21, 2014.
  • Neil Schaeffer: The Marquis de Sade. A life . Hamilton, London 1999, ISBN 0-241-13120-0 .
Analyzes

Books:

  • Timo Airaksinen: The philosophy of the Marquis de Sade . Routledge, London 1995, ISBN 0-415-11229-X
  • Peter-André Alt : Aesthetics of Evil . Beck, Munich 2010, ISBN 978-3-406-60503-1 , limited preview in the Google book search.
  • Roland Barthes : Sade, Fourier, Loyola . Éditions du Seuil, Paris 1971
    • In German: Sade, Fourier, Loyola . Suhrkamp-Taschenbuch Wissenschaft, stw 585. Transl. Maren Sell and Jürgen Hoch. Frankfurt 1986 ISBN 3-518-28185-2
  • Georges Bataille : L'homme souverain de Sade and Sade et l'homme normal , in: Georges Bataille: L'érotisme . Les Éditions de Minuit, Paris 1957, pp. 164-175 and pp. 197-218
    • In German: The sovereign person Sades and Sade and the normal person , in the same: The holy Eros (= Ullstein book 5039). Ullstein, Frankfurt 1982, ISBN 3-548-35039-9 , pp. 161-173 and 174-193
  • Arno Baruzzi : Sade , in: Enlightenment and Materialism in France in the 18th Century, Paul List Verlag 1968, pp. 133–153.
  • Alexandra Beilharz: The Décadence and Sade. Investigations into narrative texts of the French fin de siècle . M & P, Stuttgart 1996, ISBN 3-476-45161-5 (also: Freie Universität Berlin , dissertation, 1995: Sade décadent ).
  • Iwan Bloch (under the pseudonym Eugen Dühren): The Marquis de Sade and his time. A contribution to the cultural and moral history of the 18th century. With special reference to the doctrine of Psychopathia Sexualis ( Studies on the History of Human Sexual Life ). Vol. 1. Barsdorf, Berlin 1900, Archives .
  • Olaf Bohn: The Society of Friends of Crime. Criminologically relevant aspects of the discussion of violence in the Marquis de Sade , diploma thesis January 2000, ISBN 978-3-8386-3126-4 - reading sample
  • Julia Bohnengel: Sade in Germany. A search for traces in the 18th and 19th centuries. With a documentation of German-language reception certificates for Sade 1768–1899 . Röhrig Universitätsverlag, St. Ingbert 2003, ISBN 978-3-86110-330-1 .
  • Angela Carter : The Sadeian Woman. An Exercise in Cultural History . Virago, London 1979 ISBN 0-86068-054-1
  • David Cooper , Michel Foucault , Marquis de Sade and others a .: The circled madness . Edition Suhrkamp, ​​es 965. Frankfurt 1979, ISBN 3-518-10965-0
  • Sabine Friedrich: The Imagination of Evil. On the narrative modeling of transgression in Laclos , Sade and Flaubert . Fool Francke Attempto 1998, ISBN 978-3-8233-4794-1 , limited preview in Google book search.
  • Melanie Harmuth: On the communication of obscenity. The de Sade case . Driesen, Taunusstein 2004 ISBN 3-936328-28-5 (also: University of Siegen , diploma thesis, 2002)
  • Ronald Hayman: Marquis de Sade. The genius of passion. Tauris Parke, London a. a. 2003, ISBN 1-86064-894-0 .
  • Elke Heitmüller: On the genesis of sexual pleasure. From Sade to SM . Konkursbuch Verlag , Tübingen 1994 ISBN 3-88769-081-8 .
  • Pierre Klossowski : Sade, mon prochain . Éditions du Seuil, Paris 1947.
    • In German: Sade - my next (= Edition Passagen, 42). Passagen, Vienna 1996, ISBN 3-85165-200-2
  • Jacques Lacan : Kant avec Sade , in: Critique . No. 191, Avril 1963, ISSN  0011-1600 pp. 291-313
    • In German: Kant with Sade , in dsb. Fonts . Volume 2. Selected and edited by Norbert Haas. Walter, Olten 1975, ISBN 3-530-50202-2 , pp. 133-164
  • Thomas Moore: Dark Eros. The Imagination of Sadism . Spring Publishing, Putnam CT 2005 ISBN 0-88214-365-4
  • Michel Onfray : Sade, déconstruction d'un mythe . Frémeaux & Associés, Vincennes 2012
  • Jean Paulhan : Le Marquis de Sade et sa complice ou Les revanches de la pudeur . Lilac, Paris 1951 (Reprint: (= Le regard littéraire , 14). Éditions Complexe, Brussels 1987 ISBN 2-87027-215-4 )
  • Octavio Paz : An Erotic Beyond. Sade . Harcourt Brace, New York NY 1998, ISBN 0-15-100352-1 .
  • Michael Pfister, Stefan Zweifel : Pornosophy & Imachination. Sade, La Mettrie, Hegel . Matthes & Seitz Munich, 2002, ISBN 3-88221-836-3 .
  • Winfried Schröder : Moral Nihilism. Radical moral criticism from the sophists to Nietzsche. Reclam, Stuttgart 2005, ISBN 978-3-15-018382-3 , Chapter V 2. The key witness: Sade .
  • Maurice Schuhmann: Pleasure and freedom. Marquis de Sade and Max Stirner. Your concept of freedom in comparison . Karin Kramer, Berlin 2007, ISBN 978-3-87956-308-1
  • Maurice Schuhmann: Radical Individuality. On the topicality of the concepts of Marquis de Sade, Max Stirner, Friedrich Nietzsche . transcript Verlag, Bielefeld 2011, ISBN 978-3-8376-1719-1 (also: Freie Universität Berlin, dissertation, 2010)
  • Hans-Ulrich Seifert: Sade: reader and author. Source studies, commentaries and interpretations of novels and the theory of novels by DAF de Sade (= studies and documents on the history of Romance literatures . Vol. 11). Peter Lang, Frankfurt 1983 ISBN 3-8204-7295-9 (at the same time: Marburg, University, dissertation, 1982), freely available online from Hathi Trust ; French-language review by Michel Delon : Hans-Ulrich Seifert: Sade: Reader and Author , 1983, in: Dix-huitième Siècle, n ° 16, 1984. D'Alembert. Pp. 496-497: Persée
  • Gonzague Saint Bris : Marquis de Sade. L'ange de l'ombre . Télémaque, Paris 2013 ISBN 978-2-7533-0195-5
  • Philippe Sollers : Writing and the Experience of Limits . Columbia University Press , New York NY 1983, ISBN 0-231-05292-8 .
  • Philippe Sollers: Sade contre l'Être suprême . Gallimard, Paris 1996, ISBN 2-07-074528-7
  • Jörn Steigerwald: Extinction proceedings. Rituals of forgetting in DAF de Sades "Les 120 journées de Sodome" , in: Heike Brohm, Claudia Eberle, Brigitte Schwarze (eds.): Erinnern - Gedächtnis - Vergessen. Contributions to the 15th Colloquium of Young Romance Studies (= Forum Young Romance Studies, 6). Romanistischer Verlag, Bonn 2000 ISBN 3-86143-109-2 , pp. 295-304
  • Jörn Steigerwald: Origo and originality of the novelistic de Sades , in: Romanistic magazine for literary history . Vol. 24, No. 3/4, 2000, ISSN  0343-379X pp. 297-327
  • Jörn Steigerwald: The curiosity of the eye and the lust of the ear. On the logic of the senses in the realm of de Sades ( using the example of Justine) , in: Caroline Welsh, Christina Dongowski, Susanna Lule (eds.): Senses and understanding. Aesthetic modeling of perception around 1800 (= Foundation for Romantic Research . Vol. 18). Königshausen & Neumann , Würzburg 2001 ISBN 3-8260-2085-5 , pp. 207-224
  • Colette Verger Michael: Sade. His ethics and rhetoric (= American University Studies Vol. 106). Peter Lang, New York NY 1989 ISBN 0-8204-0884-0
  • Colin Wilson : The Misfits. A Study of Sexual Outsiders . Grafton Books, London 1988, ISBN 0-246-12974-3
  • Caroline Warman: Sade. From materialism to pornography (= Studies on Voltaire and the Eighteenth Century , 1). Voltaire Foundation, Oxford 2002. ISBN 0-7294-0773-X

Articles in (specialist) journals and on websites:

Unsigned articles in:

  • Der Spiegel (27/1969): Writer Marquis de Sade. Nature, this animal , Sadist de Sade
  • Der Spiegel (23/1990): Yes, I am a libertine. Return as a 'classic' on the 250th birthday - the Marquis de Sade . - Der Spiegel online from June 4, 1990.

Web links

Commons : Donatien Alphonse François de Sade  - Collection of images, videos and audio files
Wikiquote: Donatien Alphonse François de Sade  - Quotes
Wikisource: Donatien Alphonse François de Sade  - Sources and full texts (French)

Individual evidence

  1. ↑ Otto Flake : Marquis de Sade . dtv 379, Munich 1966, p. 64
  2. ↑ According to Alain Fleischer ( La promesse de l'eau , in: La Revue Littéraire N ° 22, January 2006, limited preview in the Google book search), Sade never called himself Alphonse, but Aldonze , an old Provencal first name.
  3. ↑ see: Encyclopédie Larousse
  4. ↑ "DAF d Sade". This abbreviation is also used by the Gallimard publishing house in its highly regarded literary book series Bibliothèque de la Pléiade : DAF de Sade
  5. ↑ Cerstin Bauer: Triumph of Virtue. The dramatic work of the Marquis de Sade . Romanistischer Verlag 1994, ISBN 978-3-86143-018-6 , and review by Gisela Schlüter in: Archive for the Study of Modern Languages ​​and Literatures , 233rd vol., 148th year, 2nd half-year volume 1996, pp. 466-469.
  6. ↑ Review by Martine de Rougemont on Cerstin Bauer: Triumph der Virtue. The dramatic work of the Marquis de Sade . In: Dix-huitième Siècle, n ° 27, 1995. L'Antiquité. p. 645 - on Persée .
  7. ↑ Dietmar Rieger : Review of the Triumph of Virtue. The dramatic work of the Marquis de Sade by Cerstin Bauer. In: Romanische Forschungen, 107. Bd., H. 1/2 (1995), pp. 228-230 - on JSTOR
  8. ↑ Simon Ratzeberger : From one of the most abominable books , 1829, printed in: Jules Janin : The Marquis of Sade and other accusations. With a text by Ernst Ulitzsch and an afterword . New edition 1986 by Verlag Belleville, ISBN 978-3-923646-05-0 , pp. 64/65.
  9. ^ Rolf Maag: Monster or Sexual Liberator? In: L'Essentiel (German-language Luxembourg newspaper), December 11, 2014 - L'Essentiel.lu
  10. ↑ Guillaume Apollinaire : Les Diables amoureux , idées / gallimard, 1964, chapter: Le Divin Arétin (pp. 48–87) and Le Divin Marquis (pp. 236–309).
  11. ^ Gallimard 1964 - foreword online (French, PDF) - La préface (foreword) p. 257.
  12. ↑ Original quote: “ Cette œuvre monumentale a tout de suite épouvanté le monde. S'il ya un enfer dans les Bibliothèques, c'est pour un tel livre. On peut admettre que, dans aucune littérature d'aucun temps, il n'y a eu un ouvrage aussi scandaleux, que nul autre n'a blessé plus profondément les sentiments et les pensées des hommes ... Nous tenons là l'œuvre la plus scandaleuse qui fut jamais écrite ... [selon Rousseau] toute jeune fille qui de ce livre lira une seule page sera perdue “; Maurice Blanchot : à la rencontre de Sade . In: Les Temps Modernes , October 25, 1947, pp. 577-578.
  13. ↑ Roger Willemsen : By force to glory. How a new translation invents a new Marquis de Sade . - on Cicero
  14. ^ Gilbert Lély : Life and Work of the Marquis de Sade . Albatros, 2001, p. 15.
  15. ^ Maurice Lever: Marquis de Sade . Europa-Verlag, Munich 1995, pp. 58-61.
  16. ^ Gilbert Lely: Life and Work of the Marquis de Sade . Albatros, 2001, pp. 18-20.
  17. ^ Gilbert Lely: Life and Work of the Marquis de Sade . Albatros, 2001, p. 21 f.
  18. ↑ All roads lead to Rome. The eternal city and its visitors . Translation: Ingeborg Walter.Beck, Munich 2013, ISBN 978-3-406-64451-1 , Chapter 12, pp. 138-139
  19. ↑ Stéphanie Genand: Sade , Gallimard (Folio biographies), Paris 2018, ISBN 978-2-07-269402-8 , p. 234
  20. ↑ Iwan Bloch : The Marquis de Sade and his time . Heyne, 1978, pp. 273f.
  21. ^ Francine du Plessix Gray : At home with the Marquis de Sade . Chatto & Windus, London 1998, p. 21.
  22. ^ Maurice Lever: Marquis de Sade . Europa-Verlag, Munich 1995, p. 124ff.
  23. ^ Maurice Lever: Marquis de Sade . Europa-Verlag, Munich 1995, pp. 130ff.
  24. ^ Francine du Plessix Gray: At home with the Marquis de Sade . Chatto & Windus, London 1998, p. 209.
  25. ^ Francine du Plessix Gray: At home with the Marquis de Sade . Chatto & Windus, London 1998, pp. 89-93.
  26. ↑ Maurice Lever : Je jure au Marquis de Sade, mon amant, de n'être jamais qu'à lui ... , Fayard Paris 2005, p. 30-31.
  27. ↑ Letter with facsimile
  28. ↑ Volker Reinhardt : De Sade or the measurement of evil. A biography . CHBeck, Munich 2014, p. 105/106. limited preview in Google Book search
  29. ↑ Roberto Zapperi / Ingeborg Walter : Burned Passion, in: FAZ from November 9, 2006
  30. ^ Francine du Plessix Gray: At home with the Marquis de Sade . Chatto & Windus, London 1998, pp. 139-140, 172-175, 196-199
  31. ^ Jean-Jacques Pauvert : Sade vivant . Tome 2: ... «Tout ce qu'on peut concevoir dans ce genre-là. »1777–1793 . 1989, ISBN 2-221-05953-0 , p. 572.
  32. ↑ Wikisource, Oxtiern
  33. ↑ Letter to Gaufridy v. August 3, 1793, in: Selected Works, Hamburg, 1962–1965, Volume II, p. 1218.
  34. ↑ This engraving, n ° 105, is entitled: Il envoya le roman dans les flammes . This title is a quote from p. 867 of the anonymous book Le Marquis de Sade, ses aventures, ses œuvres, passions mystérieuses, folies érotiques , published by A. Fayard in 1885, gravure n ° 105, p. 833. There, in the 5th Part, Chapter XXIX, Le dernier ouvrage de M. de Sade , tells that in 1801 Sade sent Napoleon a copy of his novel Juliette with a dedication, and how Bonaparte reacted: "He threw the novel into the flames", had all of Sade's books confiscated and the Marquis arrested. The engraving can be found on p. 833.
  35. ^ Gilbert Lely: Life and Work of the Marquis de Sade . Karl Rauch Verlag, 1961, pages 414 and 415.
  36. ^ Francine du Plessix Gray: At home with the Marquis de Sade . Chatto & Windus, London 1998.
  37. ^ Gilbert Lely: Life and Work of the Marquis de Sade . Albatros, 2001.
  38. ^ Gilbert Lely: Life and Work of the Marquis de Sade . Karl Rauch Verlag, 1961, pages 414 and 415.
  39. ^ A b Francine du Plessix Gray: At home with the Marquis de Sade . Chatto & Windus, London 1998, pp. 415-416.
  40. ^ Maurice Lever: Marquis de Sade . Europa-Verlag, Munich 1995, p. 598, quoted from: Notes littéraires, Archives de la famille de Sade .
  41. ^ Francine du Plessix Gray: At home with the Marquis de Sade . Chatto & Windus, London 1998, p. 424ff.
  42. ↑ Gisela Schlüter's review of Cerstin Bauer Triumph der Virtue. The dramatic work of the Marquis de Sade in: Archive for the Study of Modern Languages ​​and Literatures , 233rd vol., 148th vol., 2nd half-year volume 1996, pp. 466-469.
  43. ^ Maurice Lever: Marquis de Sade . Europa-Verlag, Munich 1995, p. 40.
  44. ^ A b Hans Ulrich Seifert: Sade: Reader and author . 1982 Dissertation at the University of Marburg, Romance seminar. Lang, Frankfurt a. M. 1983, ISBN 3-8204-7295-9 .
  45. ^ Maurice Lever: Marquis de Sade . Europa-Verlag, Munich 1995, p. 39.
  46. ↑ Alex Pereira de Araujo: FOUCAULT, SADE AND ENLIGHTENMENT: WHAT INTERESTS US TO KNOW OF THIS RELATIONSHIP . ( academia.edu [accessed December 7, 2018]).
  47. ^ Foucault et les Lumières . Presses Univ de Bordeaux, 2007, ISBN 978-2-86781-453-2 ( com.br [accessed December 7, 2018]).
  48. ↑ a b Pierre Klossowski, Sade mon prochain, Seuil, Paris 1947, introduction
  49. ↑ Simone de Beauvoir in the magazine "Le Temps Modernes, December 1951 issue.
  50. ^ Francine du Plessix Gray: At home with the Marquis de Sade . Chatto & Windus, London 1998, p. 428.
  51. ↑ "DAF de Sade is the one of the blood coughs of the European culture". The publicist Ernst Ulitzsch coined this bon mot in 1920 when he published his collection of Sade quotes . Reprinted as a foreword in: Jules Janin : The Marquis of Sade and other accusations. With a text by Ernst Ulitzsch and an afterword. Leipzig 1835. New edition: Verlag belleville 1986, ISBN 978-3-923646-05-0 , p. 5
  52. ↑ a b Volker Faust: MARQUIS DE SADE (SADISMUS) , on: psychosoziale-gesundheit.net
  53. ^ Charles Baudelaire: Œuvres complètes , Gallimard, Paris 1961, p. 521.
  54. ^ A b Jean-Paul Bourre: Villiers de L'Isle-Adam: Splendeur et misère , Paris 2002.
  55. ↑ Perspectives of the modern ii: phantastik and scare: Promethean heroes , on: litde.com
  56. ↑ The highest happiness of animals , on: nachtkritik.de , February 28, 2009.
  57. ↑ a b Theodor Adorno, Max Horkheimer: Dialectic of the Enlightenment. Philosophical fragments , in: Gunzelin Schmid Noerr (ed.): Collected writings , Volume 5: Dialectics of the Enlightenment and writings 1940–1950 . Fischer, Frankfurt am Main 1987.
  58. ^ Francine du Plessix Gray: At home with the Marquis de Sade . Chatto & Windus, London 1998, pp. 272-273, 384.
  59. ↑ a b Albert Camus: The man in the revolt . Book guild Gutenberg, p. 56.
  60. ↑ Albert Camus: The man in the revolt . Book guild Gutenberg, p. 46.
  61. ^ Francine du Plessix Gray: At home with the Marquis de Sade . Chatto & Windus, London 1998, p. 386.
  62. ↑ a b Angela Carter: Sexuality is power - the woman in de Sade . Rowohlt, 1981, pp. 32-35.
  63. ↑ Unmediated Popping , on: taz.de October 14, 2006.
  64. ^ Francine du Plessix Gray: At home with the Marquis de Sade . Chatto & Windus, London 1998, p. 385.
  65. ↑ Mario Praz: Love, Death and the Devil - the black romance . dtv, 1970, p. 109.
  66. ^ A b c d Francine du Plessix Gray: At home with the Marquis de Sade . Chatto & Windus, London 1998, pp. 419-421.
  67. ^ Roger Shattuck: Forbidden Knowledge . St. Martins Press, New York 1996, pp. 281-283.
  68. ^ Roger Shattuck: Forbidden Knowledge . St. Martins Press, New York 1996, p. 282.
  69. ↑ Mario Praz: Love, Death and the Devil - the black romance . dtv, 1970, p. 126ff., 146.
  70. ↑ Mario Praz: Love, Death and the Devil - the black romance . dtv, 1970, p. 127.
  71. ↑ Mario Praz: Love, Death and the Devil - the black romance . dtv, 1970, p. 148.
  72. ^ Charles Baudelaire: Œuvres complètes . Gallimard, Paris 1961, p. 521.
  73. ↑ Mario Praz: Love, Death and the Devil - the black romance . dtv, 1970, p. 151.
  74. ^ Roger Shattuck: Forbidden Knowledge . St. Martins Press, New York 1996, pp. 292-294, albeit rated there as less clearly.
  75. ^ Roger Shattuck: Forbidden Knowledge . St. Martins Press, New York 1996, pp. 293-294.
  76. ^ A b c d Francine du Plessix Gray: At home with the Marquis de Sade . Chatto & Windus, London 1998, pp. 422-424.
  77. ^ Roger Shattuck: Forbidden Knowledge . St. Martins Press, New York 1996, p. 292.
  78. ^ Gallica
  79. ^ Helmuth Kiesel: Ernst Jünger . Siedler, 2007, p. 356.
  80. ↑ Simone de Beauvoir in the magazine Les Temps Modernes , December 1951 issue.
  81. ↑ quoted from the original in Roger Shattuck: Forbidden Knowledge . St. Martins Press, New York 1996, p. 302.
  82. ↑ Albert Camus: The man in the revolt . Book Guild Gutenberg, p. 44.
  83. ↑ Jacques Lacan: Écrits . Seuil, Paris 1966, pp. 765-790.
  84. ↑ Andrea Dworkin has Died , in: Susie Bright's Journal , April 11, 2005.
  85. ^ Hans Ulrich Seifert: Sade: Reader and Author . 1982 Dissertation at the University of Marburg, Romance seminar. Lang, Frankfurt a. M. 1983, ISBN 3-8204-7295-9 , p. 13.
  86. ^ Roger Shattuck: Forbidden Knowledge . St. Martins Press, New York 1996, p. 356.
  87. ↑ Imaginary portrait of the Marquis de Sade The caption quotes from Sade's testament: “afin que ... les traces de ma tombe disparaissent de dessus la surface de la terre, comme je me flatte que ma mémoire s'effacera de l'esprit des hommes ... DAFSADE. »(" The traces of my grave should disappear from the surface of the earth so that the memory of me is erased from the human spirit. ")
  88. ↑ Figure
  89. ↑ Annie Le Brun Ed .: Sade. Attaquer le soleil . Foreword by Guy Cogeval. Gallimard, Paris 2014 ISBN 2-07-014682-0
  90. ↑ The 120 days of Sodom | Schauspielhaus Zurich. Retrieved June 1, 2017 .
  91. ↑ Volker Reinhardt : De Sade or the measurement of evil. A biography , p. 11 and p. 390
  92. ↑ Article in L'Obs (bibliobs): bibliobs.nouvelobs.com , September 29, 2013 (French).
  93. ^ Jean-Baptiste Del Amo: Pornographia . Folio 2014, ISBN 978-2-07-045976-6 .
  94. ↑ Review by Sascha Seiler: The Kingdom of Horror Jonathan Littell leads the reader in "An old story" through an eerie and terrible labyrinth from Literaturkritik.de of November 21, 2016.
  95. ^ Helmut Mayer: The lawyer of the Marquis de Sade , in: Frankfurter Allgemeine Zeitung . September 28, 2014.
  96. ↑ la-pleiade.fr La Pléiade
  97. ↑ Part of the edition still without, part with ISBN, e.g. B. Volume 6: ISBN 3-436-01585-7 , with exec. Biography of Sades
  98. ↑ publisher's website
  99. ↑ Helmut Mayer: The lawyer of the Marquis de Sade , in FAZ from September 28, 2014.
  100. ↑ Three other Klossowski texts on Sade in German: see above, Berhard Dieckmann (ed.), First French in 1966, 1967, 1974; exact source is given there
  101. ↑ Another Sollers text, La lettre de Sade, 1975; German: The letter de Sade , see above, Berhard Dieckmann (ed.), pp. 61–70
  102. ↑ clearly different translation compared to Hübner; for scientific purposes one will therefore have to fall back on the French text. The anthology brings together 16 different texts by 13 authors, see the following; Blanchot here again: Some remarks on Sade , pp. 191–202. Dieckmann is not identical to the one generation older eponymous Romanist
  103. ↑ Essays by Philippe Roger, Pierre Klossowski (3x); Philippe Sollers, see below; Maurice Blanchot (2x); Alain Robbe-Grillet , The Order and its Double , first French foreword to de Sade, Nouvelle Justine , in: Œuvres complètes , ed. Pauvert; Gilles Deleuze , What is the instinct of death , first in French in: Présentation de Sacher Masoch , Paris 1967; Marcel Hénaff , Say Everything or The Encyclopedia of Excess , first in French from dsb. Sade. L'invention du corps libertin , chap. 2, Paris 1978, pp. 65-95; Jean-Pierre Faye , Marcel Moreau a . a.
  104. ↑ The front page of this SPIEGEL issue shows an imaginary portrait of Sade, painted in 1938 by the American artist Man Ray . In the background you can see the Bastille in flames.
personal data
SURNAME Sade, Donatien Alphonse François de
ALTERNATIVE NAMES Sade, Donatien-Alphonse-François Marquis de (full name)
BRIEF DESCRIPTION French nobleman and author
DATE OF BIRTH June 2, 1740
PLACE OF BIRTH Paris
DATE OF DEATH December 2, 1814
Place of death Charenton-Saint-Maurice near Paris