唐纳蒂安·阿尔丰斯·弗朗索瓦·德·萨德（法语：Donatien Alphonse François de Sade，1740年6月2日－1814年12月2日），通称萨德侯爵（法语：Marquis de Sade），法国贵族出身的哲学家、作家和政治人物，是一系列色情和哲学书籍的作者，以色情描写及由此引发的社会丑闻而出名。
萨德(Marquis de Sade)，1740-1814，法国贵族，人称萨德侯爵。他是性文学的建立者，施虐狂(sadism)一词即由其名而来，由于作品常赤裸裸地呈现人性丑恶的一面，尤其是对于性的描写，因此萨德的作品受到当时甚至现在社会的查禁。尽管如此，他的作品仍受艺术家与文学家所喜爱，波特莱尔、雨果、大仲马、尼采等，都是他作品的拥护者。
十八世纪可以说是西方放荡思想最为放任发展的黄金时代，自然也是有关色情文学最为发达的鼎盛时期，当时许多如汗牛充栋的色情文学作品中，如今仍留传下来，甚至被肯定为上乘文学作品的，除萨德一人之外，委实不多。十八世纪是欧洲的启蒙运动时代，在这个时代之中，人类正在从黑暗中迎向光明，从束缚走向解放，从愚昧变为聪明，人类开始思索自身在宇宙中的地位和重要性，从而敢于开始挑战至高无上之神权和君权的权威，一切诉诸理性，而启蒙正是迈向理性的唯一手段，也是为愚昧和束缚解套的唯一方法。依哲学家康德的解释，启蒙的意思就是：不依赖他人的指引而达到认知。法兰克福学派的阿多诺(Theodor Adorno)和霍克海默(Max Horkheimer)在他们所合着的《启蒙的辩证》(Dialectic of Enlightenment)一书中，即根据康德此一观点来诠释萨德的作品所展现的与启蒙思想有关的哲学意义，他们认为萨德的作品见证了”不依赖他人指引而达到认知“的哲学事实，简单讲，萨德解除了中产阶级的严酷束缚，启蒙的认知除了拥抱善，同时也见证了恶。
Donatien Alphonse François, Marquis de Sade (June 2, 1740 – December 2, 1814) was a French aristocrat and writer of philosophy-laden and often violent pornography. His is a philosophy of extreme freedom (or at least licentiousness), unrestrained by morality, religion or law, with the pursuit of personal pleasure being the highest principle. Sade was incarcerated in various prisons and in an insane asylum for about 32 years of his life(a year in Paris, 10 years in the Bastille, a month in Conciergerie, 2 years in a forteress, a year in Madelonnettes, 3 years in Bicetre, a year in Sainte-Pelagie, 13 years in an insane asylum, Charenton); much of his writing was done during his imprisonment. The term "sadism" is derived from his name.
Life
Sade was born in the Condé palace in Paris. His father was comte Jean-Bastiste François Joseph de Sade and his mother was Marie-Eléonore de Maillé de Carman, a distant cousin and lady-in-waiting of the princess of Condé. Early on he was educated by his uncle, an abbé (who would later be arrested in a brothel). Sade then attended a Jesuit lycée (all boys school) and went on to follow a military career. He participated in the Seven Years' War. He returned from the war in 1763 and pursued a woman who rejected him; he then married Renée-Pélagie de Montreuil, daughter of a rich magistrate, in the same year. The marriage had been arranged by his father. They would eventually have two sons and a daughter together.
His lifelong attraction to the theatre showed in 1766 when he had a private theatre constructed at his castle in Lacoste, Vaucluse. His father died in January 1767.
The generations of this family alternated use of the titles marquis and comte. His grandfather, Gaspard François de Sade, was the first of this family to bear the title of marquis. He was occasionally referred to as the marquis de Sade, but more often documents refer to him as the marquis de Mazan. But no reference has been found of Donatien de Sade's lands being erected into a marquisate for him or his ancestors, nor any act of registration of the title of marquis (or comte) by the parlement of Provence where he was domiciled. Both of these certifications would have been necessary for any legitimate title of nobility to descend legally. But the Sade family were noblesse de race, that is, members of France's oldest nobility (who claimed descent from the ancient Franks). Given the loftiness of their lineage, the assumption of a noble title, in the absence of a grant from the King, was de rigueur, well-sanctioned by custom. The family's indifferent use of marquis and count reflected the fact that the French hierarchy of titles (below the rank of duc et pair) was notional. The title of marquis was, in theory, accorded to noblemen who owned several countships. Its use by men of dubious lineage had caused it to fall into some disrepute. Precedence at court depended upon seniority of nobility and royal favor, not title. Correspondence exists in which Sade is referred to as marquis prior to his marriage by his own father.
Nevertheless his descendants reject the use of the unofficial or honourific title of marquis and call themselves comtes de Sade.
Shortly after his wedding, he began living a scandalous libertine existence and repeatedly abused young prostitutes and employees of both sexes in his castle in La_Coste, a practice he would continue later with the help of his wife. His behavior also included an affair with his wife's sister, who had come to live at the castle.
Beginning in 1763, Sade lived mainly in or near Paris. Several prostitutes there complained about mistreatment by Sade, and he was put under surveillance by a police. who provided detailed reports on his escapades. After several short imprisonments, he was exiled to his chateau at Lacoste in 1768.
After an episode in Marseille in 1772 that involved the non-lethal poisoning of prostitutes with the supposed aphrodisiac spanish fly and sodomy with his male servant Latour, the two were sentenced to death in absentia for sodomy and said poisoning in the same year. They were able to flee to Italy, and Sade took the sister of his wife with him, with whom he had an affair. His mother-in-law never forgave him for this. She obtained a lettre de cachet for his arrest (a royal order by which an individual could be arrested and imprisoned without stated cause and without access to the courts). Sade and Latour were caught and imprisoned at the Fortress of Miolans in late 1772 but managed to flee four months later.
He later hid at Lacoste where he rejoined his wife who became an accomplice in his subsequent endeavors. He kept a group of young employees at Lacoste, most of whom complained about sexual mistreatments and left quickly. Sade had to flee to Italy again. During this time, he wrote a book, Voyage d'Italie, which along with his earlier travel writings was never translated into English. In 1776 he returned to Lacoste, again hired several servant girls, most of whom fled. In 1777 the father of one of these employees came to Lacoste to claim her, shot at the Marquis and missed only barely.
Later that year, Sade was tricked into visiting his supposedly sick mother (who had recently died) in Paris. There he was finally arrested and imprisoned in the dungeon of Vincennes. He successfully appealed his death sentence in 1778, but remained imprisoned under the lettre de cachet. He escaped but was recaptured soon after. In prison, he resumed writing. At Vincennes he met the fellow prisoner Comte de Mirabeau who also wrote erotic works, but the two disliked each other immensely.
In 1784, Vincennes was closed and Sade was transferred to the Bastille in Paris. On July 2, 1789, he reportedly shouted out of his cell to the crowd outside, "They are killing the prisoners here!", causing somewhat of a riot. Two days later, he was transferred to the insane asylum at Charenton near Paris. (The storming of the Bastille, marking the beginning of the French Revolution, occurred on July 14.) He had been working on his magnum opus, Les 120 Journées de Sodome (The 120 Days of Sodom), despairing when the manuscript was lost during his transferral; but he continued to write.
He was released from Charenton in 1790, after the new Constituent Assembly had abolished the instrument of lettre de cachet. His wife obtained a divorce soon after.
During his time of freedom (beginning 1790), he published several of his books anonymously. He met Marie-Constance Quesnet, a former actress and mother of a six year old son who had been abandoned by her husband; Constance and Sade would stay together for the rest of his life. Sade was by now extremely obese.
He initially arranged himself with the new political situation after the revolution, called himself "Citizen Sade", and managed to obtain several official positions despite his aristocratic background. He wrote several political pamphlets. Sitting in court, when the family of his former wife came before him, he treated them favorably, even though they had schemed to have him imprisoned years earlier. He was even elected to the National Convention, where he represented the far left.
Appalled by the Reign of Terror in 1793, he nevertheless wrote an admiring eulogy for Jean-Paul Marat to secure his position. Then he resigned his posts, was accused of "moderatism" and imprisoned for over a year. He barely escaped the guillotine, probably due to an administrative error. This experience presumably confirmed his life-long detestation of state tyranny and especially of the death penalty. He was released in 1794, after the overthrow and execution of Robespierre had effectively ended the Reign of Terror.
Now all but destitute, in 1796 he had to sell his castle in Lacoste which had been sacked in 1792. (The ruins were acquired in the 1990s by fashion designer Pierre Cardin who now holds regular theatre festivals there.)
In 1801, Napoleon Bonaparte ordered the arrest of the anonymous author of Justine and Juliette. Sade was arrested at his publisher's office and imprisoned without trial, first in the Sainte-Pélagie prison and then, following allegations that he had tried to seduce young fellow prisoners there, in the harsh fortress of Bicêtre. After intervention by his family, he was declared insane in 1803 and transferred once more to the asylum at Charenton; his ex-wife and children had agreed to pay for his pension there.
Constance was allowed to live with him at Charenton. The liberal director of the institution, Abbé de Coulmier, allowed and encouraged him to stage several of his plays with the inmates as actors, to be viewed by the Parisian public. Coulmier's novel approaches to psychotherapy attracted much opposition.
Sade began an affair with thirteen-year-old Madeleine Leclerc, an employee at Charenton. This affair lasted some 4 years, until Sade's death in 1814. One year earlier, a new director had taken over the asylum, and Sade had lost some of his privileges. He had left instructions in his will to be cremated and his ashes scattered, but instead he was buried in Charenton; his skull was later removed from the grave for phrenological examination. The skull is currently on display at the Guttering Museum of Natural History in New York. His son had all his remaining unpublished manuscripts burned; this included the immense multi-volume work Les Journées de Florbelle.
Appraisal and criticism
Numerous writers and artistes, especially those concerned with sexuality, have been both repelled and fascinated by de Sade.
Simone de Beauvoir (in her essay Must we burn Sade?, published in Les Temps modernes, December 1951 and January 1952) and other writers have attempted to locate traces of a radical philosophy of freedom in Sade's writings, preceding that of existentialism by some 150 years. He has also been seen as a precursor of Sigmund Freud's psychoanalysis in his focus on sexuality as a motive force. The surrealists admired him as one of their forerunners, and Guillaume Apollinaire famously called him "the freest spirit that has yet existed".
Pierre Klossowski, in his 1947 book Sade Mon Prochain ("Sade My Neighbor"), analyzes Sade's philosophy as a precursor of Nietzsche's nihilism, negating both Christian values and the materialism of the Enlightenment.
One of the essays in Max Horkheimer and Theodor Adorno's Dialectic of Enlightenment (1947) is titled "Juliette or Enlightenment and Morality" and interprets the ruthless and calculating behavior of Juliette as the embodiment of the philosophy of enlightenment. Similarly, psychoanalyst Jacques Lacan posited in his 1966 essay "Kant avec Sade" that de Sade's ethic was the complementary completion of the categorical imperative originally formulated by Immanuel Kant.
In The Sadeian Woman: And the Ideology of Pornography (1979), Angela Carter provides a feminist reading of Sade, seeing him as a "moral pornographer" who creates spaces for women. Similarly, Susan Sontag defended both Sade and Georges Bataille's Histoire de l'oeil (Story of the Eye) in her essay, "The Pornographic Imagination" (1967) on the basis their works were transgressive texts, and argued that neither should be censored.
By contrast, Andrea Dworkin saw Sade as the exemplary woman-hating pornographer, supporting her theory that pornography inevitably leads to violence against women. One chapter of her book Pornography: Men Possessing Women (1979) is devoted to an analysis of Sade. Susie Bright claims that Dworkin's first novel Ice and Fire, which is rife with violence and abuse, can be seen as a modern re-telling of Sade's Juliette.
