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SALMON AndréMareMagnum

- Nrf, Paris 1932, 12x19cm, broché. - New edition. Spine very discreetly restored, a few fold marks on the front cover. Exceptional copy signed and inscribed by Antoine de Saint-Exupéry: "For Jean Lucas. With all my true friendship cemented by sand (the play on words is bad but the heart is there). In memory of the beautiful orgies of Port Etienne." ("Pour Jean Lucas. Avec toute ma vraie amitié cimentée par le sable (l'astuce est mauvaise mais le coeur y est). En souvenir des belles orgies de Port Etienne." with a drawing of a naked girl. Saint-Exupéry inscribed this copy of his first book to Jean Lucas, a fellow pilot at l'Aéropostale, who prepared with him in 1935 his famous Paris-Saigon raid during where he famously crashed "in the center of the desert" of Libya. His accident as well as the stopovers in Port Etienne with Lucas will be told in his masterpiece Wind, Sand, and Stars. Lucas will celebrate at his side the great literary success of this last novel (winner Grand Prix of the French Academy) at Consuelo's flat in Paris, with writer Léon-Paul Fargue and the Werth couple. In this long and humorous inscription, the writer evokes moments spent in 1931 in Port-Etienne, now Nouadhibou in Mauritania, where "Lucas, head of the airport, turns, night and day, the gramophone which, so far from life, speaks to us a language half lost, and causes a melancholy without object which curiously resembles thirst" (Wind, Sand, and Stars). In this refuge where "the threats are dampened by so much sand" a fraternity itself "cemented by the sand" was born between these pioneers of aviation. Braving all imaginable dangers, Saint-Exupéry flew mail from France to Casablanca in a Laté 26. He recalls here his stopovers, the "beautiful orgies of Port-Etienne" in the burning solitude of these remote lands: "Located on the edge of unsettled territories, Port-Etienne is not a city. There is a fort, a hangar and a wooden hut for the crews of our country" he writes in Wind, Sand, and Stars. In the company of Lucas and the captain-governor, he kills boredom with chess games, conjuring tricks, naval battles, games of hangman, long stories of flights and girls, as the explicit ink drawing at the bottom of the page seems to attest... many crazy evenings of which this letter and this drawing preserve the memory. One night in July 1939, Lucas cured him of his "blank page syndrome" by locking him in his room so that he could finish his preface to the book by aviator Anne Morrow Lindbergh. At the end of the war, the inconsolable Léon Werth, to whom Saint-Exupéry dedicated The Little Prince, wrote to Jean Lucas: "The armistice without Tonio is not quite the armistice". An exceptional gesture of friendship from the "Lord of the Sands" to his faithful brother in arms. Lucas was one of the rare intimates the writer confided in (Saint Exupéry, Une vie à contre courant, p. 264). [FRENCH VERSION FOLLOWS] Nouvelle édition. Dos très discrètement restauré, quelques marques de pliure sur les plats de couverture. Précieux envoi autographe signé d'Antoine de Saint-Exupéry : "Pour Jean Lucas. Avec toute ma vraie amitié cimentée par le sable (l'astuce est mauvaise mais le coeur y est). En souvenir des belles orgies de Port Etienne." enrichi d'un dessin représentant une jeune fille nue. Saint-Exupéry adresse ce très bel envoi sur son premier livre à Jean Lucas, compagnon de vol à l'Aéropostale, qui préparera avec lui en 1935 son célèbre raid Paris-Saïgon lors duquel l'écrivain-aviateur s'écrasera « au centre du désert » de Lybie. Son célèbre accident ainsi que les escales à Port Etienne avec Lucas seront contés dans Terre des Hommes. Lucas célébrera à ses côtés chez Consuelo rue Barbet de Jouy, avec Léon-Paul Fargue et le couple Werth, le grand succès littéraire de ce dernier roman et son obtention du Grand Prix de l'Académie Française. Dans cette longue dédicace, l'écrivain fait allusion aux moments passés en 1931 à Port-Etienne, actuelle Nouadhibou en Mauritanie

Librairie Feu Follet · Paris, FR11 500,00 €

SADE Louis, Chevalier deMareMagnum

Ensemble complet des archives du Chevalier de Sade

- s.l. (Londres, Paris, Toulon...) 1791-1832, 12 000 feuillets de divers formats, en feuilles. - The Complete Archives of Louis, Chevalier de Sade 1791-1832 | ca 12,000 leaves | various format Unpublished political, scientific and historical archives The complete manuscript unpublished papers of Louis, Chevalier de Sade (1753-1832), author of the Lexicon politique and cousin of the famous Marquis. The important geopolitical, historical, and scientific archives of a learned aristocrat, a privileged witness of the end of the Ancien Régime, the French Revolution, the Consulate, Empire, and Restoration. A unique fund of research on the implementation of a constitutional monarchy. Exceptional collection of the Chevalier Louis de Sade's personal archives, the cousin of the Marquis de Sade, representing 12,000 handwritten pages, including several thousand unpublished and written by his hand. The Chevalier shows a thought system that he describes as «holistic,» including historical, political and scientific reflections. Louis, Chevalier de SADE If we take the French Revolution as the birth of an experiment, both secular and political, the Chevalier de Sade was without doubt one of its early critics. Not only of the Revolution, which had many other detractors, but of its political ideology, which would go on profoundly to impact the two hundred years that followed. What he calls «positive politics» is «based on reasoning and experience». «The theory did have some attractions for me; I studied it with care, I savored its principles. Now, I see their value only in terms of the impact of their implementation, what we've seen them produce in the peoples of which history has given me knowledge. This is my method; I know that it is, all in all, the opposite of the methods utilized by the men who have governed us and written our constitutions to this very day without deviation. This continuous divergence between what has been done and what should never have been done increased my confidence in the path to be followed and at the same time fortified my determination to keep to the views I had adopted, of judging laws by the historic consequences they entail rather than by the lyrical, supposedly conclusive, metaphysical arguments with which these innovators continually, and still to this day, assault us.» The Chevalier de Sade, who saw the world in terms of his own time and place, could be nothing other than a Royalist. There were practically no examples of democracy in the history known to the Chevalier, apart from the Classical democracies of Greece and Rome which had been experiments only in very elitist forms of democracy. These were very well known to this political scientist, whose papers contain 7,000 pages dedicated to the history of the Classical world. The republic ushered in by the Revolution, was more than just a political system - it was the realization of a philosophical political ideal. And while most of those opposed to the new regime saw in it above all a threat to their personal situations, their religious beliefs or even more simply their habits, the writings of the Chevalier de Sade show no such dogmatic influence; or at least, he never uses dogma to justify his arguments. Louis de Sade, a gentleman without a fortune and without significant ties, was conservative through philosophical and historical conviction and not out of interest. It is with this perfect intellectual honesty that he studies the essays, memoirs and political or theoretical works of his contemporaries. Running counter to Enlightenment thought, the Chevalier's view of society owed very little to philosophy. Though he puts together a serious theoretical history of the development of Man from the condition of «savages» to the forging of various societies, he does not posit Man's ideal nature, as some of his contemporaries did. Rather, the Chevalier examines the gap between nature and the civilized being without passing moral or philosophical judgment

Librairie Feu Follet · Paris, FR103 500,00 €

SADE Donatien Alphonse François, Marquis de & ANONYMEMareMagnum

Liste du Théâtre français et du Théâtre italien

- s.d. (circa 1790), 16,20,1cm, 3 pages sur un double feuillet. - Liste de 38 pièces (15 pièces jouées au Théâtre-Français et 23 à la Comédie-Italienne), rédigée sans doute par un secrétaire du Marquis. Annotations, ratures, biffures et corrections de la main du Marquis de Sade. Cette liste correspond à des pièces de théâtre jouées de 1783 à 1785 au Théâtre français (actuel Théâtre de l'Odéon) et au Théâtre italien (connu de nos jours sous le nom d'Opéra-Comique ou Salle Favart). Le Marquis avait pour habitude de se faire envoyer chaque année l'Almanach des spectacles afin de se tenir informé des actualités de la scène parisienne. Ainsi dans une lettre de décembre 1784 à sa femme Renée-Pélagie, il demande : « Liste d'objets dont j'ai besoin. [...] Deux almanachs [...] des spectacles. Les comédies ou tragédies nouvelles de l'année, de l'un et l'autre spectacles. J'en ai d'autant plus besoin cette année, que j'ai prodigieusement travaillé dans l'un et l'autre genre et que je ne puis me passer de ce qui paraît, pour m'instruire et vérifier. ». Toutes les pièces listées dans cet inventaire apparaissent dans les almanachs théâtraux reproduits par Sylvie Dangeville dans son ouvrage Le Théâtre change et représente (Honoré Champion, Paris, 1999). Soucieux de garder un lien avec le monde extérieur, le Marquis commande énormément d'ouvrages, notamment les brochures des pièces théâtrales fraîchement parues. Ainsi en 1775, dans une lettre à la Veuve Duchesne, célèbre libraire-éditrice parisienne, il demande : « Pour l'intelligence du billet ci-joint, Madame Duchesne est priée de jeter les yeux sur l'Almanach des Spectacles, article pièces nouvelles, et en conséquence elle voudra bien remettre au présent porteur tout ce qui [a] été imprimé à l'un ou l'autre spectacle, savoir du Théâtre français depuis l'Hôtellerie ou le faux ami et du Théâtre italien depuis l'Amitié au village, l'un et l'autre inclusivement, si elles sont imprimées ou exclusivement si elles ne le sont pas, jusqu'à l'époque de la clôture des spectacles. Le porteur n'a qu'un louis ; si les pièces montaient à une somme plus forte, Madame Duchesne enverrait d'abord pour cette somme et ferait dire celle qu'il faudrait envoyer le lendemain pour avoir le total. ». Le « billet » dont il est question en début de missive est très vraisemblablement la liste que nous proposons ; les deux titres auxquels fait référence le Marquis y apparaissent. Rare et précieuse liste répertoriant les ouvrages lus par le Marquis au commencement de son incarcération à La Bastille, point de départ de sa production littéraire prolifique. Provenance : archives de la famille. [ENGLISH DESCRIPTION ON DEMAND]

Librairie Feu Follet · Paris, FR2 645,00 €

SADE Donatien Alphonse François, Marquis deMareMagnum

La fête de l'amitié. Manuscrit autographe complet et unique.

- S.n. , s.l. [1810-1812], in-8 (18,5x23,5cm), (1f.) 2 f. découpés (78f.), broché. - La Fête de l'amitié. Unique complete autograph manuscript [The Friendship's Party] [Charenton asylum] n. d. [ca. 1810-1812], in-8: 18,5 x 23,5 cm , (1 f.) 2 f shaved (78 f.), original wrappers The complete original manuscript of the last play by the Marquis de Sade, ruled in red throughout, comprising 78 leaves of 12 lines written recto and verso. This manuscript, like the other extant items from the Marquis, was dictated to a scribe and corrected by Sade himself. Two pages at the beginning of the notebook were excised before the text was written. Contemporary pink paper wrappers, a few lacks to head and foot of spine. Ink title to upper cover "5/ La Fête de l'amitié" including a prologue and a vaudeville sketch entitled Hommage à la reconnaissance, these forming two acts of mixed prose, verse, and vaudeville. This title is incorrect, as shown by the first page, on which the following title appears: "La Fête de l'amitié. Prologue. Encadrant l'Hommage à la reconnaissance. Vaudeville en un acte." Manuscript note by the Marquis to verso of upper cover, indicating the position he intended this work to occupy within his oeuvre. Several manuscript corrections, annotations and deletions in Sade's hand, including a quote from his own work as prelude to the vaudeville: "On est des dieux l'image la belle quand on travaille au bonheur des humains. Hommage à la reconnaissance. [We are in the finest image of the gods when we work for the good of humanity. Homage to recognition.]" "This piece, written by the Marquis in honor of the director of the Charenton Asylum, M. de Coulmiers, was played in the Charenton theatre between 1810 and 1812, approximately a year before the total ban on the plays there was introduced on the 6 May 1813. This late work is the only play of Sade's entire theatrical output at Charenton that has come down to us." The play is historic testimony of Sade's genuine respect - despite the inevitable tensions - for the director of his final home, whom the play lauds under the transparently anagrammatic name of Meilcour. But La Fête de l'amitié is also, by its very subject, a precious source of information on the progress of psychiatric medicine, just freeing itself from its repressive accoutrements in favor of new therapeutic methods, like the drama productions to which Sade contributed heavily and to which he here pays singular homage. The piece is particularly Sadean in its approach of casting madness not in the negative form of an illness, but quite the opposite, through the character of the benevolent God Momus, the focal point in this atypical vaudeville. Essentially, though the feast the play describes is a celebration in honor of the director of an asylum similar to Charenton located in ancient Athens, the central figure is the god of insanity himself, whose presence completely upends the relationship between the sane and the sick - much like with the players in the production itself, in which you couldn't distinguish the professional actors from the inmates of the asylum. The whole production, including both song and dance, is made up of two plays - a prologue/epilogue, La Fête de l'amitié, followed by a vaudeville: Hommage à la reconnaissance, played by the same characters as the prologue. The complete production was played at the "festival for the Director." Each dramatic layer is an allegorical variant on the real situation and there's no doubt that the actors, as they got deeper and deeper into the piece, were still playing their own parts. The work of a polished writer in full control of his subject and all the various dramatic and narrative tools, this seemingly frothy piece - by virtue of belonging to the literary genre of homage, which is very conventional and strictly codified - nonetheless contains the subversive elements so dear to the Marquis. And it's also a man who has suffered the regular confiscation and destructio

Librairie Feu Follet · Paris, FR40 250,00 €

SADE Donatien Alphonse François, Marquis deMareMagnum

Les antiquaires. Manuscrit autographe complet et unique.

- S.n. , s.l. août 1808, in-8 (17,5x21,5cm), (40f.) (3f. bl.), broché sous chemise et étui. - SADE Donatien Alphonse François, Marquis de Les Antiquaires. [The Antiquarians] Unique complete autograph manuscript [Charenton asylum] August 1808, in-8: 175 x 215 mm (6 7/8 x 8 7/16 "), (40 f.) (3f bl.), original wrappers The complete original manuscript of one of Sade's first works, ruled in pencil throughout, comprising 40 leaves written recto and verso. This manuscript, like the other extant items from the Marquis, was dictated to a scribe and corrected by Sade himself. Contemporary green paper wrappers with a small lack to middle of spine. Ink title, partly erased, to upper cover: 9/ Net et corrigé en août 1808 - bon brouillon. Les Antiquaires. Comédie en prose en 1 acte [Copied and corrected August 1808 - a good draft. The Antiquaries. A prose comedy in 1 Act]. This title is repeated on the verso of the upper cover. Numerous manuscript corrections, annotations and deletions in Sade's hand, principally adding blocking, and rich in both stage and acting directions. Written in 1776 and re-copied at Charenton in 1808, and most likely augmented at the time with various topical references - notably including an allusion to Napoleon, "of whom he was hoping, in vain, to receive permission to leave the asylum at Charenton as a free man" (p.94) - Les Antiquaires is one of the first theatrical pieces written by the Marquis and therefore one of his first literary works overall, written eight years before the Dialogue entre un prêtre et un moribond [Dialogue Between a Priest and a Dying Man]. Though the precise dating of these pieces is made difficult due to the lack of the original manuscripts, several clues have allowed bibliographers to date the initial composition of this piece to 1776, possibly with a corrected version during the Revolution and a few final changes at the time of this last edit, which is today the only extant manuscript of this play. These clues include the status of the Jewish and English characters, the style of the dialogues, and Sade's correspondence with theatres; the strongest clue being biographical in nature. Les Antiquaires can essentially be considered the true "theatrical version" of Sade's Voyage en Italie with which it shows a sustained intertextuality. The play is about an antiquary - in the 18th century sense of the term, which is to say a learned devotee of Classical culture - who wants to marry off his daughter to a friend with the same passion, who nonetheless finds a way of convincing him to let her marry her young lover. Whether it be in the learned dialogues of the antiquaries or in their eccentric parody by the young lover imitating them, Sade draws upon his own experience and observations from his travels, which he expands or twists, according to the viewpoint of his various characters. Hence, the description of Mount Etna by the lover - Delcour - is a parody of Sade's detailed description of the Pietra Malla volcano, and the made-up "subterranean tunnel linking Etna to America" is directly inspired by the tunnel of the Crypta Neapolitana, described by Sade in his Voyage. The Marquis would reach back to this same experience of volcanoes in one of the most famous scenes in his Histoire de Juliette. Barely returned from his latest grand tour and almost at the same time as writing his passionate and detailed account of the experience, Sade was thus also writing a satirical version of his own work (until his problems with the military authorities). The work is at the same time a social critique of pointless erudition and a self-mockery of his own passion for history and of his "zeal to see everything, his insatiable curiosity" (cf. Maurice Lever, preface to Voyage en Italie). This virulent satire is paradoxically twinned with a very erudite display of the author's knowledge of the latest architectural discoveries and the major contemporary questions in the field. This was, in fact, the element cr

Librairie Feu Follet · Paris, FR34 500,00 €

SADE Donatien Alphonse François, Marquis deMareMagnum

Lettre autographe inédite signée du Marquis de Sade, alors en liberté, au commencement de la Terreur

- 1er avril 1793, 15,6x20cm, une page sur un feuillet. - Lettre autographe inédite datée et signée, rédigée à l'encre noire et adressée à un notaire. Au verso, probablement de la main d'un secrétaire, la mention « Sade du 1er avril 1793 » ; sous cette mention, une courte phrase de la main du Marquis : « pour que j'écrire à Gaufridy de lui envoyer de l'argent ». Quelques pliures transversales inhérentes à la mise sous pli. Longue lettre adressée à un notaire alors que le Marquis, rendu à la liberté le 2 avril 1790 par l'abolition des lettres de cachet, est libre et tente de mettre de l'ordre dans ses affaires. Après la Révolution ses fils ont émigré et il ne les a pas suivis. Son nom figure pourtant sur la liste des personnes ayant quitté la France en raison des troubles révolutionnaires : « J'espère qu'avec tout cela je parviendrai à faire effacer mon nom de dessus cette fatale liste d'émigrés. » Soucieux de ne pas être considéré comme un ci-devant Marquis en cette période précédant la Terreur, il insiste sur la persécution dont il serait victime malgré sa bonne volonté : « C'est une atrocité sans exemple que de m'avoir joué un pareil tour à moi qui n'ai pas quitté Paris depuis la révolution, et qui depuis cette époque n'ai pas cessé de donner les preuves les moins équivoques de mon patriotisme ». Sade dénonce également dans cette missive la complexité des rouages de l'administration française après la Révolution : « Je viens d'envoyer à M. Lions le certificat de résidence qui convient et j'y ai joint une pétition au district qu'il me dit être (...) essentielle. » Impécunieux, il prie son avocat « d'exciter le zèle de ceux qui [lui] doivent et de les engager à compter le plus d'argent qu'il percevront tout de suite à M. Gauffridi (sic) » et n'hésite pas à se montrer complaisant pour arriver à ses fins : « ne me ménagez pas alors je vous en conjure (...) conservez moi toujours votre soin et votre amitié (...) Je vous embrasse et salue de tout mon cur. » Les efforts de Sade seront vains, en décembre 1793 il est incarcéré aux Madelonettes, avant d'être admis, grâce à sa bonne amie Mme Quenet, à la maison Coignard de Picpus, un établissement de santé abritant les riches suspects. Intéressante lettre inédite montrant l'infortuné Marquis aux abois, lors de l'un de ses rares moments de liberté. [ENGLISH DESCRIPTION ON DEMAND]

Librairie Feu Follet · Paris, FR11 500,00 €

SADE Donatien Alphonse François, Marquis deMareMagnum

Lettre autographe à sa femme. Hommages à la Présidente : « Faire noyer vive l'exécrable coquine qui depuis neuf ans (...) suce mon sang... »

- s.l. (Vincennes) s.d. (circa 1781), 15,7x20,1cm, une feuille. - SADE Donatien Alphonse François, Marquis de Autograph letter to his wife. Hommages à la Présidente: "Faire noyer vive l'exécrable coquine qui depuis neuf ans [...] suce mon sang..." N. p. [Vincennes Castle] n. d. (circa 1781), 157 x 201 mm (6 3/16 x 7 15/16 "), single leaf "The more I think about it, however, the more I think you have to have quite a nerve to dare write to a poor suffering unfortunate..." Autograph letter unsigned from the Marquis de Sade to his wife. One page, closely written in ink on 31 lines. This letter was written during Sade's imprisonment at Vincennes, probably in April 1781, if one is to believe the occasional indicators of date referenced by the writer. Sade mentions the end of his "exile from Marseilles", referring to the decision of the court in Aix-en-Provence to overturn his conviction for debauchery and libertinage on the 14 July 1778, but which nonetheless banned him from living in or visiting Marseilles for three years. Sade also mentions one of the defining episodes of his life, his flight to Italy between January and November 1776: "they may as well have killed me straight off as left me in that foreign country where I was." Sade also mentions the "amazing favor" that befell him of "moving house", which is to say his potential transfer to the fort at Montélimar. In April 1781, Madame de Sade, through the good offices of her friend Madame de Sorans, got authorization from the King for her husband to be transferred to the prison there. Sade explains in the letter: "I think you have to have quite a nerve to dare write to a poor suffering unfortunate who has been beset these nine years...telling him to thank, ever so humbly, the woman who obtained for him the amazing favor of moving house." Sade is here no doubt referring to the famous Madame de Sorans, a lady of Louis XVI's sister's bedchamber and a friend of his wife's who, out of a spirit of adventure, accepted the task of petitioning the King in his favor. It was to Commissioner Le Noir, referenced in this letter, that Renée-Pélagie left the task of breaking the news to the prisoner: "Ah, I see now what this nice little visit by M. Lenoir means, I'm used to seeing him in the middle of my incarcerations." Despite the fact that, as Pauvert points out in Sade vivant, this change of "house" occupied the Marquis' thoughts to a large extent, he was never actually moved, preferring to stay in the gaols of the keep at Vincennes. At this point, Sade had been imprisoned for several years and this letter, full of movement, reveals his thirst for freedom. This letter was written when Madame de Sade withdrew to the convent at Sainte-Aure. If she saw this act as a liberation from the yoke of her marriage, the Marquis for his part was obsessed by the idea of his own liberation and mentions a potential date: October 1783. His long incarceration, which began in 1777, would last till April 1790, when lettres de cachet were abolished. Madame de Sade's visits were not reauthorized by the prison authorities until 13 July 1781, after four years and five months of separation. Several important themes in Sade's correspondence already appear in this letter from his first years in prison. First of all, his hatred for his mother-in-law, the Présidente de Montreuil, an "execrable wretch who drinks [my] blood...disgraces [her] children, who has not yet done scattering her horrific deeds and platitudes" and whom he would like to "drown alive". The Marquis also complains of his poor physical health: "my head spins and in my condition I hardly need any more misery", using very Sadean epithets to express his despair. "A poor suffering unfortunate who has been beset these nine years"; "what have I done, what have I done dear Lord, to suffer for twelve years?". Provenance: family archives.

Librairie Feu Follet · Paris, FR13 570,00 €

SADE Donatien Alphonse François, Marquis deMareMagnum

Lettre autographe à sa femme. Souffrance et philosophie : « si l'on pouvait lire au fond de mon cur, voir tout ce qu'elle y opère cette conduite-là, je crois qu'on renoncerait à l'employer ! »

- s.n., s.l. 17 août 1780, 10x16cm, 2 pages sur un feuillet. - Handwritten letter to his wife. Sufferance and philosophy: "Punish as much as you like, but do not kill me: I did not deserve it [...] Ah! If you could read to the bottom of my heart, see everything that happens there, I think you would give up using it!" August 17, 1780, 10 x 16 cm, loose leaves Handwritten letter from the Marquis de Sade addressed to his wife. One recto-verso leaf written in fine, tight writing. It has the partial date at the top "ce jeudi 17" "this Thursday 17th." Two slight signs of folding. The end of the letter was mutilated at the time, probably by the prison administration which destroyed the Marquis' licentious correspondence. So, several months later, in March 1781 his wife wrote to him: "My dear, you really must change your style so that your letters can reach me whole. If you give the truth, it offends, turns against you. If you give any untruths, they say: this is an incorrigible man, always with the same head that ferments, ungrateful, false etc. In any case, your style can only harm you. So change it." The letter was found as it was when, in 1948, the Marquis' trunk, that had been sealed by the family since 1814, was open and it was published in this reduced form in the correspondence of the Marquis de Sade. Provenance: family archives. This letter was written on 17 August 1780, during the Marquis' incarceration in Vincennes Prison. Following the umpteenth altercation with the prison guard, the right to go for a walk was taken away from him on 27 June and was not reinstated until 9 March the following year. The Marquis' physical and mental health is strongly affected by not being able to go out and he constantly begs Renée-Pélagie for the right to be quickly reinstated: "I urge you to let me get some fresh air: I absolutely cannot take it any longer." The suffering caused by these deprivations is a pretext for setting up a mechanism of guilt and blackmail with his wife: "There, three days that I have felt an awful dizziness, with blood rushing to my head so much so that I do not know how I have not fainted. One of these days, they will find me dead and you will be responsible, after having warned you as I do and having asked you for the help which I need to avoid it." Here, the Marquis is intentionally pulling on Renée-Pélagie's heartstrings, really putting her Christian values to the test and giving her the role of grand inquisitor: "You can grant me what I ask for, whilst keeping, on your signal, the same strength." We note, as in Tancrède's letter, a new appearance of "signal," which masks completely different semantics. An essential component of the Marquis' prison mindset, this encoded language, like the fantasised interpretations of his correspondents' letters, feeds the theories of researchers, philosophers, mathematicians... and poet biographers. As such, Gilbert Lely estimates that, far from being symptomatic of psychosis, the return to signals is "his psyche's defence reaction, a subconscious struggle against despair where, without the help of such a distraction, his motivation could have declined." Missing from his correspondence during his eleven years of freedom, these enigmatic semantic depths, "a real challenge to semiological judgement" (Lever p.637), reappear in his Charenton diary. This letter is also an opportunity for the Marquis to deploy his rhetorical panel, confronting the sadistic antonyms in the same sentence. "Pleasure" is synonymous with "abominable" "revolting," "cemetery"and "garden" are superimposed, "I suffer" is conjugated as "I enjoy" and "softness" stands alongside "darkness." The mastered practice of this eloquence exercise is united with the depths of Sadian thought: sufferance and pleasure are closely mixed, simultaneously endured, inflicted and desired. Through these associations, we glimpse the sensitive Manicheism of the Marquis's philosophical thought, which reaches its climax at the en

Librairie Feu Follet · Paris, FR13 570,00 €

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