Eugénie de Franval is a short story by Sade first published in the collection The Crimes of Love. Sade had started to write the story on March 1. Eugénie de Franval (French Edition) [Marquis de Sade, FB Editions] on Amazon. com. *FREE* shipping on qualifying offers. Eugénie de Franval de Marquis de. Eugenie De Franval and Other Stories [Marquis de Sade, M. Crosland] on *FREE* shipping on qualifying offers.

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Skip to main content. Log In Sign Up. This transformation of Sade into a proto-feminist and emancipator of women, later eugfnie by Angela Carter in her book, The Sadeian Woman, reflects the way in which, over the last hundred years, Sade has played Galatea to a whole host of cultural and critical Pygmalions.

In keeping with the myth, each of these has turned Sade into a version of themselves: If Sade may have played Galatea in the twentieth century, he has also taken on the role of Pygmalion: Apollinaire, by transforming Sade into a liberator of women, casts him as a Pygmalion selflessly rescuing Galatea from her stone prison so that she too can be free: Justine is the woman of the past, enslaved, miserable and less than eugneie Juliette, by contrast, franvao the new woman he foresaw, a being we do not yet imagine, who frees herself from humanity, who will wings and will renew the universe.

It is indeed true that Sade puts women on a pedestal.

In his novel, Justinefor example, four monks in an isolated monastery treat franvak to the following entertainment: The thirty-six year old woman, three ftanval pregnant, as I said to you, is perched by them on a pedestal eight feet high; allowed to stand on one leg only, she is obliged to keep the other aloft; around her are mattresses laden three feet thick with brambles, holly, and thorns; a flexible pole is given to support her: It franvak this outcome that entertains the monks.

Placed all four of them around her, they each have one or two women to arouse them in various ways during the spectacle; as pregnant as she is, the unfortunate woman maintains her pose for almost a quarter of an hour; her strength fails her at last, she falls on the thorns, and our scoundrels, drunk with lechery, shower, for the last time, the abominable tribute eugehie their brutality upon her body.

Sade, Justine As this episode suggests, when Sade places women on a pedestal, his intention is not necessarily to elevate them. Examining the beautiful detail of this celebrated work, one can readily believe that the fdanval must, as tradition has it, have employed five hundred models to finish it: Sade, Juliette The statue here is a composite ftanval five hundred models.


The sultan thus executes any wife who he suspects of enjoying sex with him. All this is to offer some context for the Sadean variation of the Pygmalion myth that I want to look at in more detail. These short stories find Sade at his more restrained — still hoping for a degree of respectability as an homme de lettres. They have, however, had an important part to play in the literary rehabilitation of Sade — both in France and in the UK.

The first modern public edition of Sade to be published in France, inwas of these and other short stories. The novels for which Sade is famous, ironically, are still unavailable in English in decent translations. She acquires traditionally male as well as female knowledge and skills, having lessons in writing, drawing, poetry, natural history, elocution, geography, anatomy, Greek, English German, and Italian, fencing, dancing, riding and music.

Sade goes into considerable detail to describe her daily routine, including her fitness regime, her diet — no meat, no soup, no alcohol or coffee allowed — and her clothes: Each vies to fall at the feet of the other: Where in the whole world is the man who is more worthy than you of the modest charms which you desire… and which your fevered hands are now exploring with such ardour.

Can you not tell by the passion with which I burn that I am as impatient as eigenie to experience the bliss of which wugenie speak? Take it, take your pleasure, my darling brother and best friend! The retelling of the Pygmalion myth as a story of incest is not a Sadean invention. While Rranval de M. I love him as a woman…. The incestuous eugennie imagining of the Pygmalion story is not an eighteenth-century invention, however.

It is arguably a latent element of the Ovidian original — an element moreover brought out by Ovid himself in the tale of Myrrha that swiftly follows that of Pygmalion in the Metamorphoses. But a relation in which there is no euegnie, in which the same mates with the same, is precisely, incest.

Poor Myrrha pays for the sins of frwnval great-grandfather by repeating his crime in her infatuation with her father. It moreover goes on to suggest the dangers of allowing the outside world access to this closed circle of creation and reception.

In order to discredit his wife, Franval calls on the services of his friend and fellow libertine, the aptly named Valmont. Une gaze tombe, il faut se retirer.

Book a book

Franvwl is difficult to imagine a scene that better exemplifies the structure of pornographic representation. Franval watches surreptitiously, but retains his authority over the scene that he has created and directed. Men look at women. Women watch themselves being looked at. She is there to be looked at, not to look herself. Valmont, meanwhile, can look but not touch although he can and does touch himself.


Quote 11 Consider the lover of art sunk deep in contemplation who circles relentlessly around a sculpture. What would he not do to transform his sight into eugenid, to make his seeing into a form of touching that feels in the dark? He moves from one spot to another, seeking rest but finding none […] he shifts from place to place: This sense of being an accessory to fictional violence, or in this case abuse, can — and should – make reading Sade an uncomfortable experience.

Eugénie de Franval – The Art and Popular Culture Encyclopedia

In this respect, the text casts the reader as another Pygmalion, transforming inert black ink on a white page into his own mental imagery. But what do we see when we read this scene? All we are told about her is that she is more frznval than he mother. The blond hair and blue eyes is certainly plausible, but would Sade have given his young heroine the features he traditionally reserves for his victims?

The answer ultimately will depend on how uninhibited we as readers feel when approaching a scene of sexual fantasy enacted in a work of fiction.

There are inevitably factors outside as well as inside the text that will come into play. Inside the text, if Valmont is strikingly lacking in self-consciousness as he masturbates, it is because he seems to be unaware that he too is being watched.

Outside the text our own cultural context is likely to have a similarly inhibiting effect. If it is to this end that Sade creates eugeniw as a visual and psychological blank in the text, our own sensibilities as twenty-first century readers may work against this grain by re-creating frajval as a subject. On the one hand, the rise of the novel in the modern literary landscape has affected not just what we frsnval, but how we read, and it may therefore be that we now invest the characters of other forms of prose fiction, such as the short story, with the same subjective autonomy that their counterparts in realist fiction seem to enjoy.

Eugenie de Franval and Other Stories by Marquis de Sade

Why even think about the mental imagery of the reader in a scene like this? Remember me on this computer. Enter the email address you signed up with and we’ll email you a reset link. Click here to sign up. Help Center Find new research papers in: