| Donatien Alphonse François de Sade | |||
| 萨德侯爵 | |||
| 唐纳蒂安·阿尔丰斯·弗朗索瓦·德·萨德 | |||
阅读萨德 Marquis de Sade在小说之家的作品!!! | |||
萨德唐纳蒂安·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。
萨德经历了法国波旁王朝、第一共和国、执政府到第一帝国等多个历史时期，无论在哪个时期都经常入狱或被关进精神病院，他七十四年的人生中，有二十九年都在监狱和疯人院中度过。在1789年7月14日法国大革命开始时仍被监禁在巴士底狱。由于他的作品中有大量性虐待情节，被认为是变态文学的创始者。与被虐心理著称的奥地利作家利奥波德·范·萨克-马索克齐名，萨德主义（Sadism）与马索克主义（Masochism）合称为“SM”，即是现今印欧语系中“虐恋”的词源。
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。萨德生活于法国历史上和社会的一个大变动时代，他经历了从路易十五和路易十六的君主王朝，法国大的共和，还有拿破仑·波拿巴的帝国时代等三个动荡骚乱的伟大历史时期。萨德是一个十分激进而又十分复杂的人，他对旧世界中一切对人性的束缚深恶痛绝，为此他积极参加了大，还成了中一个小小的领袖；他是个唯我主义者，竭尽对教会讽刺揶揄之能事，乃至不留余力地亵渎上帝、耶稣，因为他容不得天主教对人性的束缚；与此同时他又蔑视、攻击为维护社会存在所必须的法律条文和伦理道德。他的丑闻严重损害了队伍的形象，政府以对他的惩罚维护了自己的声誉和威信，尽管萨德为做出过相当的贡献。
萨德在世74年，断断续续因淫乱罪、性，在监狱、疗养院中前后被囚禁27年。他几乎住过当时法国所有大小著名的监狱，其中还包括恶名昭彰的坐落于巴黎市区的巴士底监狱。这期间他写了大量情爱小说，这些小说同样表现了他复杂矛盾的性格，在有的故事中他明目张胆地歌颂性活动中的恶德，在另外的故事中他又对女性所遭的不幸表示某种同情，对恶德进行了谴责，充分地表现了萨德复杂矛盾的性格和人生观。《索多玛的120天》即在巴士底写成，从1785年的10月22日开始动笔，37天之内写就。有人说，萨德要不是有那么长时间被关在监狱里头，似乎就不太可能写出那么多充满性爱奇想的小说作品。
藉由妻子家族的势力，萨德得以在囚禁中享有特权，阅读当时最先进的科学丛书《百科全书》、接触自然主义思想家布封、拉梅提等人的作品、及人类学中关于道德与社会结构等概念，养成萨德反宗教的唯物主义概念，并对于传统道德大加鞑伐；也或许在这样的环境中，让他深刻体会人性，因此他的笔下，描绘的是人性的丑恶与对于宗教、道德、社会的批判。没有讽刺的笔触、不遮掩、不暗示、不下流，这是萨德的特色，虽然提及腥膻的性行为与的性交方式，却往往适时收笔，有着高度的节制，因此他的作品实属情色文学中的”高级腔调“；他的写作具有明确的目的，也敢于面对人性病态，因此故事并非他的重点，他的作品思想重点，在于提出一般人习以为常、但却似是而非的观念，故事中以不同主角之间的思辩，深入阐述他对于自然和人性的严肃思想。
萨德作品的特色，是他给予每个人、每个想法都有申辩的机会，就像哲学家亚里斯多德与柏拉图式的答辩，故事中每一个人物皆为辩论者、思想家，藉由主角人物一正一反的思辩、对立及交锋过程，全面关照与深入探讨每一议题，阐述的问题包括性、宗教、道德、、法律、社会关系、人文、心理状态等。以这个角度来看，萨德俨然是一位思想家，并且是有意识的思想家。 如果说萨德只是像一般人印象中那样淫乱荒唐，那么诗人波特莱尔、文学家杜斯妥也夫斯基、雨果、大仲马等人也就不会潜心研究他的作品。萨德的笔下所描绘的，就像是人类病态的病理报告，将者、犯罪者的动机、理由、行为、后果等刻画入微，就像萨德自己所说，他写的全是”活的人类“，都是现实生活中确实存在的，而不像一般小说家或道德评论家，以不着边际的讽喻手法描绘人性；以此看来，萨德俨然是一位精神分析师，给每位者有充分解释与表达、表现的机会；这也是一般道德批判者没有无法做到的。
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。
萨德虽然是个天生的作家，但他在写作上真正展露才华和风格，却是相当后来的事情，亦即1778年至1790年之间，也就是在年龄上38岁到50岁之间，他生平第二阶段入狱长达12年的期间。早在这段期间之前，萨德早已陆续写过一些东西，自己也以作家自居，只不过并没有得到承认而已。他早在第一次入狱之前，就已经和当时一些贵族圈的朋友，还包括他的父亲和他的神父叔叔，都不时动笔在涂涂写写了。然而，他这次长达12年的坐监期间，和妻子之间大量的书信往返，动笔写《索多玛的120天》，他真正建立了自己突出的写作风格，他开始懂得运用独树一帜的语言去塑造自己的风格。长期的极度孤独和大量的阅读将一个少不更事的萨德推向一个成熟稳重的萨德，据说他在狱中拥有多达六百册图书的个人图书室。罗兰‧巴特在《萨德、傅立叶、罗耀拉》一书中这样写道：”正是由于处在一种极度的孤独之中，令他感到恐惧，然后由恐惧转变为欲望，对他来说，这样的欲望就是一种无法抗拒的想要写作的欲望，这样的欲望配上一种可怕而无法压抑的语言的力量，写作就成为可能，他要说出心中压抑的一切。“显然《索多玛的120天》正是此一情境下的产物，萨德之所以被肯定为伟大的风格作家，也正是从这一本作品开始，西蒙‧波娃女士在《我们要不要烧掉萨德？》一书中这样说：”他入狱之前是个普通人，出狱时却已成为伟大的作家了。“这种说法很富传奇性，却适合于用在萨德身上。他在极度孤独的百无聊赖之中，运用非凡的想象和语言，创造了一个非凡的和匪夷所思的色情世界，他只活在自己所创造的语言当中，生命的各种冒险都已消失，一切都已被语言的符号取而代之。
萨德自从20世纪初逐渐浮上台面之后，慢慢形成为一种所谓的”萨德现象“，罗兰‧巴特甚至称之为”萨德神话“。20世纪之前的萨德，整整有100年的时间都是活在地下，他的作品始终都是处于不见天日的状况之下在被传阅，因为他的作品所处理的不单是色情题材的问题，而且还宣扬性暴力和性以及违反伦常的哲学，他是性的化身，他像个魔鬼，无所不在，却必须躲躲藏藏。在他所生活的时代里，大家只把他当作一个的色情作家，甚至只是个不入流的小作家，迟早势必会淹没在历史的洪流之中，当时绝没有人会想到他将在法国文学史或甚至西方文学史上占上重要一席之地。
进入20世纪后，许多禁忌慢慢在解套，萨德不知不觉浮上了台面。到了60年代中期他的作品全面解禁，一些名家如布朗秀(Maurice Blanchot)和巴岱伊(Georges Bataille)以及罗兰‧巴特等人为他著书立说，萨德成为法国文学史上最伟大的作家之一。罗兰‧巴特在其《访谈录》一书中甚至拿他和普鲁斯特相提并论，在他看来，阅读萨德和阅读普鲁斯特一样，其所带来的欢娱感觉是无与伦比的。
萨德的神秘面纱揭开之后，在法国本地遂形成为一股热闹的萨德风潮，同时形成为两派极端不同的对萨德作品的看法。
一派视之为无聊胡闹，不可理喻，认为萨德不厌其烦反复在许多小说作品中描写猥亵的性行为，特别是”恋屁狂“和”嗜粪癖“的鸡奸行为，实在是无稽透顶而令人倒胃至极。这类行为的刻划描写，不但违反道德，事实上也违反了人性。
但是另外一派人并不这样看萨德，他们把萨德看成是个”绝对的作家“，是独一无二的，是无可比拟的，而且恐怕也会是空前绝后的，他以一种革新精神和独特风格创造了一个异想天开而带有结构性质的封闭系统的世界，在这个世界中固然一切以色情为依归，但我们必须越过色情的层次去看这个世界的一切。萨德的世界是一个无政府的世界，但相对也是一个乌托邦的世界，因为在那里一切束缚都解除了，伦理道德或甚至法律的禁制也都不复存在，我们彷佛回归到一个原始状态的心理学层次，一切都是赤裸裸的，一切都可以被允许的，任所欲为，不但是天马行空，而且简直就是完全没有界限。因此，萨德就像是一个魔法师，创造了一个”绝对的世界“，一个自给自足而充满无比想象魅力的世界。
评论家布朗秀和巴岱伊的把萨德看成是文学创作的”违禁者“。在西方文学史上，没有人能够像萨德那样大胆闯越理性的法则，完全以个人的尖锐情欲和暴力倾向为准则，不理会理性的束缚，不顾道德法律的干预，一切只为了个人欲望之宣泄，这可说是疯子的行径，而这正是萨德的写照，他以疯人姿态，肆无忌惮闯越了世俗的禁区，继而塑造了一个独特的，没有人能管制的自给自足的世界。在这个世界之中，一切只听命于一个至高无上之权威的主宰者，这个主宰者就是萨德本人，而他的行事律则就是：反其道而行。巴岱伊就说过，萨德世界的中心，其至高权力的要求乃在于展现否定的力量，换句话说，就是反其道而行的意思。傅柯(Michel Foucault)也这样说过：”在萨德的世界里，性是没有任何规范的，有的话也仅服从于其自身本质的内在法则，此一法则除了其自身之外不承认任何其它法则，它只听命于至高无上的权力主宰者。“因此，在萨德的作品里，我们会不断反复读到对社会规范之破坏的描写，他的世界并没有天理和律法的存在。
罗兰.巴特认为萨德真正吸引人的地方，是有关他那独树一帜的语言所塑造而成的结构世界，就这一点而论，他认为这样的结构世界在相当程度上很类同于《圣经》中的世界，同样都是充满符码而有待解构的复杂世界。萨德长年在监狱中透过不眠不休的奋力写作，透过对语言的巧妙掌握和运用，创造了一个极精彩的小说结构世界，这当然也是一个别树一格的色情结构世界，其中的象征是色情的象征，五花八门，眼花撩乱，另一方面，同时也是修辞学的象征，就某个角度看，萨德可以说是有关情色象征的伟大修辞学家。因此，罗兰‧巴特在其《萨德、傅立叶、罗耀拉》一书中即如此说，萨德和傅立叶及罗耀拉一样，他们都不约而同创造了自己的语言系统，他们的作品都结合了原创性的符号而展现了不同凡响的独特意义，充分展现了社会主义热情(傅立叶)、情色象征(萨德)及宗教精神(罗耀拉)的最颠峰境界。此外，罗兰‧巴特在他的《访谈录》一书中更如此肯定地说：”阅读萨德，我向来即由此获得极大的乐趣，我并不认同于一般人所说的，认为萨德是个无聊的作家……在我们(法国)的文学当中，真正能够带给我极大之阅读欢娱，并且会想不断去重读的，除普鲁斯特之外，就数萨德一人，他们两人各站我们文学世界的两极。"
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.