But his hatred for the death penalty is at first no more than a hatred for men who are sufficiently convinced of their own virtue to dare to inflict capital punishment, when they themselves are criminals. You cannot simultaneously choose crime for yourself and punishment for others.
You must open the prison gates or give an impossible proof of your own innocence. From the moment you accept murder, even if only once, you must allow it universally. The criminal who acts according to nature cannot, without betraying his office, range himself on the side of the law. «One more effort if you want to be republicans» means: «Accept the freedom of crime, the only reasonable attitude, and enter forever into a state of insurrection as you enter into a state of grace.»
Thus total submission to evil leads to an appalling penitence, which cannot fail to horrify the Republic of enlightenment and of natural goodness. By a significant coincidence, the manuscript of One Hundred and Twenty Days of Sodom was burned during the first riot of the Republic, which could hardly fail to denounce Sade’s heretical theories of freedom and to throw so compromising a supporter into prison once more. By so doing, it gave him the regrettable opportunity of developing his rebellious logic still further. The universal republic could be a dream for Sade, but never a temptation. In politics his real position is cynicism.
In his Society of the Friends of Crime he declares himself ostensibly in favor of the government and its laws, which he meanwhile has every intention of violating. It is the same impulse that makes the lowest form of criminal vote for conservative candidates. The plan that Sade had in mind assures the benevolent neutrality of the authorities. The republic of crime cannot, for the moment at least, be universal. It must pretend to obey the law.
In a world that knows no other rule than murder, beneath a criminal heaven, and in the name of a criminal nature, however, Sade, in reality, obeys no other law than that of inexhaustible desire. But to desire without limit is the equivalent of being desired without limit. License to destroy supposes that you yourself can be destroyed. Therefore you must struggle and dominate. The law of this world is nothing but the law of force; its driving force, the will to power.
The advocate of crime really only respects two kinds of power: one, which he finds among his own class, founded on the accident of birth, and the other by which, through sheer villainy, an underdog raises himself to the level of the libertines of noble birth whom Sade makes his heroes. This powerful little group of initiates knows that it has all the rights.
Anyone who doubts, even for a second, these formidable privileges is immediately driven from the flock, and once more becomes a victim. Thus a sort of aristocratic morality is created through which a little group of men and women manage to entrench themselves above a caste of slaves because they possess the secret of a strange knowledge. The only problem for them consists in organizing themselves so as to be able to exercise fully their rights which have the terrifying scope of desire.
They cannot hope to dominate the entire universe
until the law of crime has been accepted by the universe. Sade never believed that his fellow countrymen would be capable of the additional effort needed to make it «republican.» But if crime and desire are not the law of the entire universe, if they do not reign at least over a specified territory, they are no longer unifying principles, but ferments of conflict. They are no longer the law, and man returns to chaos and confusion.
Thus it is necessary to create from all these fragments a world that exactly coincides with the new law. The need for unity, which Creation leaves unsatisfied, is fulfilled, at all costs, in a microcosm. The law of power never has the patience to await complete control of the world. It must fix the boundaries, without delay, of the territory where it holds sway, even if it means surrounding it with barbed wire and observation towers.
For Sade, the law of power implies barred gates, castles with seven circumvallations from which it is impossible to escape, and where a society founded on desire and crime functions unimpeded, according to the rules of an implacable system.
The most unbridled rebellion, insistence on complete freedom, lead to the total subjection of the majority. For Sade, man’s emancipation is consummated in these strongholds of debauchery where a kind of bureaucracy of vice rules over the life and death of the men and women who have committed themselves forever to the hell of their desires.
His works abound with descriptions of these privileged places where feudal libertines, to demonstrate to their assembled victims their absolute impotence and servitude, always repeat the Duc de Blangis’s speech to the common people of the One Hundred and Twenty Days of Sodom: «You are already dead to the world.»
Sade himself also inhabited the tower of Freedom, but in the Bastille. Absolute rebellion took refuge with him in a sordid fortress from which no one, either persecuted or persecutors, could ever escape. To establish his freedom, he had to create absolute necessity. Unlimited freedom of desire implies the negation of others and the suppression of pity. The heart, that «weak spot of the intellect,» must be exterminated; the locked room and the system will see to that.
The system, which plays a role of capital importance in Sade’s fabulous castles, perpetuates a universe of mistrust. It helps to anticipate everything so that no unexpected tenderness or pity occur to upset the plans for complete enjoyment.
It is a curious kind of pleasure, no doubt, which obeys the commandment: «We shall rise every morning at ten o’clock»! But enjoyment must be prevented from degenerating into attachment, it must be put in parentheses and toughened. Objects of enjoyment must also never be allowed to appear as persons. If man is «an absolutely material species of plant,» he can only be treated as an object, and as an object for experiment.
In Sade’s fortress republic, there are only machines and mechanics. The system, which dictates the method of employing the machines, puts everything in its right place. His infamous convents have their rule—significantly copied from that of religious communities. Thus the libertine indulges in public confession. But the process is changed: «If his conduct is pure, he is censured.»
Sade, as was the custom of his period, constructed ideal societies. But, contrary to the custom of his period, he codifies the natural wickedness of mankind. He meticulously constructs a citadel of force and hatred, pioneer that he is, even to the point of calculating mathematically the amount of the freedom he succeeded in destroying. He sums up his philosophy with an unemotional accounting of crimes: «Massacred before the first of March: 10. After the first of March: 20. To come: 16. Total: 46.» A pioneer, no doubt, but a limited one, as we can see.
If that were all, Sade would be worthy only of the interest that attaches to all misunderstood pioneers. But once the drawbridge is up, life in the castle must go on. No matter how meticulous the system, it cannot foresee every eventuality. It can destroy, but it cannot create. The masters of these tortured communities do not find the satisfaction they so desperately desire. Sade often evokes the «pleasant habit of crime.» Nothing here, however, seems very pleasant more like the fury of a man in chains.
The point, in fact, is to enjoy oneself, and the maximum of enjoyment coincides with the maximum of destruction. To possess what one is going to kill, to copulate with suffering—those are the moments of freedom toward which the entire organization of Sade’s castles is directed.
But from the moment when sexual crime destroys the object of desire, it also destroys desire, which exists only at the precise moment of destruction. Then another object must be brought under subjection and killed again, and then another, and so on to an infinity of all possible objects. This leads to that dreary accumulation of erotic and criminal scenes in Sade’s novels, which, paradoxically, leaves the reader with the impression of a hideous chastity.
What part, in this universe, could pleasure play or the exquisite joy of acquiescent and accomplice bodies? In it we find an impossible quest for escape from despair—a quest that finishes, nevertheless, in a desperate race from servitude to servitude and from prison to prison. If only nature is real and if, in nature, only desire and destruction are legitimate, then, in that all humanity does not suffice to assuage the thirst for blood, the path of destruction must lead to universal annihilation. We must become, according to Sade’s formula, nature’s executioner.
But even that position is not achieved too easily. When the accounts are closed, when all the victims are massacred, the executioners are left face to face in the deserted castle. Something is still missing. The tortured bodies return, in their elements, to nature and will be born again. Even murder cannot be fully consummated: «Murder only deprives the victim of his first life; a means must be found of depriving him of his second. . . .»
Sade contemplates an attack on creation: «I abhor nature. … I should like
