Skip to main content

The Marquis de Sade on Orthodoxy


A short entry about orthodoxy before I post the second part of the analytical essay on Haruki Murakami’s 1Q84 next week. 

While reading a short story entitled “Augustine de Villeblanche or Love’s Strategy” by the Marquis de Sade (not exactly a historical figure you would go to for moral rectitude), I came across the following fascinating passages on why human beings feel the need to judge, condemn, and censor others who hold different beliefs and values from them:

The most foolish thing of all … is to blush about the penchants that Nature has given us. And to make fun of anyone, simply because his or her tastes are unusual, is just as barbaric as railing against someone who was born lame, or blind in one eye. But trying to convince fools of these reasonable concepts is like trying to halt the stars in their courses. People seem to take a kind of prideful pleasure in mocking “defects” that they themselves do not possess, and they apparently derive such enjoyment – especially the halfwits – from this sport … It serves as a pretext for maliciousness, witticisms, and poor puns; and society, that is, a collection of people whom boredom has brought together and stupidity has molded, enjoys nothing better than spending two or three hours talking without saying anything, it delights in appearing brilliant at the expense of others, in making a point of censuring a vice from which it thinks itself free… (129)

The “Nature” that the narrator above, a lesbian character, has in mind is the very Nature that radical Christians and Muslims refer to when making a case against the “abomination” that is homosexuality. On this subject, the character says:

If you think about it carefully, you will see that all these imaginary losses (the failure to reproduce – my addition) are completely indifferent to Nature, that not only does she not condemn them but, on the contrary, she demonstrates by a thousand examples that she wishes and desires them. Why, if these losses irritate her so, would she tolerate them in thousands of cases? Why, if the problem of progeny is so essential to her, would she have limited the length of time a woman can bear children to only a third of her life? And why would Nature dictate that half of those creatures to whom she gives birth leave their mothers’ hands with a clear distaste for producing offspring, contrary to what we have been taught are Nature’s demands. I shall go even further: Nature allows the race to multiply, but she does not demand it and, thoroughly convinced that there will always be more people than her needs require, she has no desire whatsoever to oppose the penchants of those who refuse to conform to society’s demands to procreate and will have no part of it. Ah, let Mother Nature work her ways, let us be quite convinced that he resources are immense, that nothing we do will outrage her… (127)

The Marquis might not be the writer to quote when it comes to moral issues, but in this supposedly enlightened age when there are still religions and cultures around the world that condemn and execute those who do not conform, his words ring truer than ever. The irony is: if a Frenchman writing towards the end of the 18th century could embrace such liberal thoughts, why is it some of us still insist on living in the dank cave of orthodoxy?
  

All page numbers refer to the 2000 Arcade edition of The Mystified Magistrate and Other Tales, translated by Richard Seaver.

Comments

  1. I look forward to reading the second part of your essay. You make some very interesting connections. I just wanted to let you know that I currently have two giveaways taking place on my blog. Particularly, I thought you might enjoy reading The Snow Child by Eowyn Ivey. Feel free to follow the link below to enter both giveaways.

    -Ethan
    http://e135-abookaweek.blogspot.com/p/giveaways.html

    ReplyDelete
    Replies
    1. Thanks for dropping by, Ethan! Yes, I will definitely check out The Snow Child.

      Delete

Post a Comment

Comments are always appreciated! Do feel free to leave them or start a discussion.

Popular posts from this blog

Approaching Haruki Murakami’s “Kafka on the Shore” the Jungian Way

“The world of gods and spirits is truly nothing but the collective unconscious inside me.” – Carl Jung, On the Tibetan Book of the Dead What appears to be supernatural and surrealistic in Haruki Murakami’s Kafka on the Shore  does not have to remain that way once we accept that in Murakami’s fictional world, the natural and the supernatural often cross paths and become one single unity. In the previous three entries on the novel, I have extensively discussed its relation to Sophocles’ Oedipus Rex . But here I intend to explain why the supernatural should in fact be deemed natural, and how this reasoning is a direct reference to the theories of Swiss psychologist Carl Gustav Jung and German philosopher G.W. F. Hegel, both of whom are mentioned in the novel. Carl Jung’s psychological theory on the “collective unconscious” (the notion positing that all humans – regardless of race and culture – share a psyche containing “latent predispositions towards identical reactions” [10])

The Sound of Alienation: Rainer Maria Rilke’s “The Voices”

In the nine “Voices” poems (“Die Stemmen,” 1902), we find Rilke speaking out for those who have suffered pain and injustice. He insists that in order for them to be heard, they need to “advertise” themselves, and this should be done through singing, or songs – like the castrati (referred to as “these cut ones”) who sing to God and compel him to stay and listen. This message is found in the “Title Leaf” – an introduction of sorts to the nine songs. It is tempting to read the nine songs (“Beggar’s,” “Blind Man’s,” “Drunkard’s,” “Suicide’s,” “Widow’s,” “Idiot’s,” “Orphan Girl’s,” “Dwarf’s,” “Leper’s”) as a collection of poetic pleas for social awareness. This is due to Rilke’s “casting choices”; he has selected society’s most conspicuous outcasts as the main speakers of his poems. When, for instance, the beggar in “The Beggar’s Song” says, “I go always from door to door/rain-soaked and sun-scorched,” we are induced to sympathise with his downtrodden fate. The same can be said for

Murakami Salutes Orwell: How "1Q84" Pays Homage to "1984" (Part 2)

Here the reader arrives at the junction where Murakami’s work crosses from the metaphysical to the real and tangible, for in the single-moon world we have also had the misfortune of witnessing writers persecuted for their ability to tell a different “truth.” Salman Rushdie’s fate after the publication of The Satanic Verse is well-documented and needs no reiteration. A more discriminate look at literary history gives us several more voices hushed by the Authorities: Turkish author and Nobel Prize-winner Orhan Pamuk was arrested for comments about the massacres of Armenians in the First World War. Nigerian protest author Ken Saro-Wiwa was tried by a military tribunal and hanged. Yu Jie, author of China's Best Actor: Wen Jiabao , a controversial book that cast a critical light on the premier, landed in hot water with the Chinese authorities, and had to emigrate to the USA for his own safety. His close friend and Nobel Prize-winning literary critic Liu Xiaobo called for politic