An Introduction to Sade
Born in France in 1740, the Marquis De Sade was both a writer and philosopher ahead of his time. His most infamous works include Justine or The Misfortunes of Virtue, published in 1791, Juliette or Vice Amply Awarded, in 1797 as well as Philosophy in the Bedroom and 120 Days of Sodom.
Most have interpreted Sade’s work as immoral, pornographic and depraved. It is easy to understand how Sade’s work has been labelled as such, given its content. However, there have been those ready to defend his ‘art.’
One of the most ardent defenders of Sade is the feminist author, Angela Carter, who wrote The Sadeian Woman in 1979.
Carter’s Interpretation of Sade
The first point Carter makes is that Sade is unique because he never distinguishes between what is considered ‘normal’ and ‘abnormal’ behaviour:
‘The chaste kiss of the sentimental lover differs only in degree from the vampirish love-bite that draws blood, we understand that a disinterested caress is only quantitatively different from a disinterested flogging.’ (Carter, 1982, p.24 & 25)
Carter points out here that society has categorised sexual behaviours into what is acceptable, or normal, and abnormal.
Sade singlehandedly destroyed this idea with his writing; demonstrating that the only thing we have is sexual behaviour, and that it should not be pigeon-holed. He was constantly reaffirming that each individual has different sexual preferences; each should be accepted and indulged as the individual see’s fit.
At the beginning of 120 Days of Sodom Sade declares:
‘It is the story of a magnificent banquet – six hundred different plates offering themselves to your appetite. Are you going to eat them all? Of course not… Choose what you like and leave the rest – but without declaiming against your leavings simply because they lack the ability to please you. Be a philosopher: take your own and permit the next man his choice of passions.’ (Gillette, 2007, p.187)
The Feminist Interpretation of Sade
Carter, considering Sade’s Justine and Juliette commented: ‘If Justine is a pawn because she is a woman, Juliette transforms herself from pawn to queen in a single move.’ (Carter, 1982, p.79) Carter goes on to say that this is only possible because while women are indeed at a disadvantage, this can be remedied if she ‘abandons the praxis of femininity.’ (Carter, 1982, p.78) This is exactly what Juliette, unlike Justine, does.
Simply put, women will only advance if they throw off the stereotypical characteristics of femininity.
Carter argued that the work of Sade was both empowering for women and that it also created a space for women within literature. Carter argued that women are becoming like Sade’s Juliette: ‘the Cosmopolitan girl – hard, bright, dazzling, meretricious. She plays to win.’ (Carter, 1982, p.102)
Although many authors since Sade have portrayed women as falling prey to sadistic men in the way that Justine did, more and more authors are creating women like Juliette. Women within fiction are transforming into their real life counterparts: confident, powerful women that embrace the philosophy of the libertine like never before.
References:
Carter, A., 1982, ‘The Sadeian Woman,’ London: Virago Press
Gillette, P.J., 2007, ‘The Complete Marquis De Sade,’ California: Holloway House Publishing Co.
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