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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My copy There was a period in my life when I thought I might become a professor of 18th century history. One result of this delusion is that the City University of New York is currently enjoying the use of thousands tranval dollars once in the custody of myself and my parents. Another result was that I investigated a lot of 18th century books. I wasn’t willing to make the investment that appeared to be required to get anything out of Samuel Richardson or Edward Gibbon. Another author I put euegnie the side was the Marquis de Sade.
I’ll never forget flipping through a volume of de Sade’s works and finding a list of heinous tortures, I guess in Days of Sodom.
Over twenty years later I franfal not forgotten one of these gruesome flights of fancy birthed by an insane mind, though sometimes I wish I would. Recently, looking through my books, I found underlinings in my paperback edition of The Crimes of Love.
I was surprised to find these marks, because the book was in good shape and I was pretty sure I had bought it new, not used. It was with some surprise that I came upon a piece of marginalia in my own handwriting.
I read this book, presumably in the early s, and franavl then had not only entirely forgotten the stories themselves, but the fact that I had read the book at all.
Eugénie de Franval () – IMDb
This week I reread the paperback, curious to learn what these three stories, pages total, written by a man Aldous Huxley in the included two-page excerpt from his Ends and Means tells us obtained sexual pleasure from poisoning prostitutes, stabbing shop-girls and franvwl actresses and which left not a trace on my mind after I had read them the first frxnval were all about.
My copy of the edition of Crimes of Franvla is a selection from the original collection of that title, printed inthough the people at Bantam Classics don’t make that clear. It contains three novellas translated by Lowell Bair: The painting, “The Dreamer,” was painted inso perhaps an odd choice: I can’t say that this book is giving me a good impression of Bantam Classics’ way of conducting business. If I still had any scholarly interest in de Sade I would purchase the Oxford World’s Classics edition of Crimes of Lovewhich includes translations and a comprehensive intro by David Coward.
My synopses and comments on these three tales of rape, incest and suicide below: His selfish amoral character is blamed on a free-thinking father and the books dad gave little Franval, books which encouraged Franval to ignore tradition and consider afresh every matter.
Franval’s parents die before his nineteenth birthday, and Franval finds himself with a huge inheritance. He marries a beautiful year-old who has a sizable estate of her own 60, francs a year and they have a daughter who is even more lovely than the mother, whom he names Eugenie.
Franval takes absolute control over little Eugenie; Eugenie only sees people Franval allows her to see, and her mother is not one of those people! Eugenie’s education includes no moral or religious instruction, save that provided by her father himself. You can judge the nature of this instruction by the fact that when Eugenie is fourteen she and her father begin their passionate love affair. A printing of “Eugenie de Franval” with a more marketable title from Hesperus Press This story is about 83 pages long, and most of it concerns the boring maneuvering back and forth between Franval and Eugenie, who are committed to their erotic relationship, and Franval’s wife, mother-in-law, and the mother-in-law’s favorite clergyman, who try to rescue little Eugenie and get Franval to learn to behave.
Franval and Eugenie are monsters who will stop at nothing to maintain their relationship. For example, Franval convinces one of his friends, Valmont, to try to seduce Madame de Franval, so Franval can blackmail her. When the Madame rejects Valmont, Franval urges him to rape her. There is no honor among thieves or rapists, apparentlyand Valmont, instead of raping Franval’s wife, seizes Eugenie and tries to elope with her.
In this scheme he is aided by Madame de Franval and her mother. Franval figures this all out, chases down Valmont and Eugenie and shoots Valmont dead on the highway. Franval, wife, and daughter then flee to one of Franval’s provincial castles. Back in Paris the authorities try Franval in absentia for Valmont’s murder. Franval tells his daughter that if a guilty verdict comes through, she is to poison her mother to death.
Eugenie follows this instruction, murdering her own mother when she learns of the verdict. But as mom expires in agony, Eugenie, who heretofore has been depicted as a monster as depraved as her father, spontaneously dies from grief and guilt. Similarly, Franval, after being assaulted and robbed by deus ex machina highwaymen, suddenly expresses regret. Franval commits suicide with the sword he used in his fight with the highwaymen, and the clergyman fulfills his last wish, that he be buried in the same coffin with the wife he now suddenly realizes he mistreated.
The plot of this story is pretty crazy, but the tale is not entertaining or even interesting.
Eugénie de Franval and Other Stories by Marquis de Sade | LibraryThing
The pacing is tedious, and the characters are flat and do fganval develop; they either act the same way throughout the entire story or, as in the case of Franval and Eugenie, are totally evil and perverse and then, at the last second, for no credible reason, reform moments before they die. There are no explicit sex scenes, and the episodes of violence and death are each described in one or two lines; de Sade doesn’t use the sex or violence to generate any kind of excitement or rugenie.
The story also feels insincere, pretending very unconvincingly to be an attack on freethinking and a vindication of traditional morality and religion. It begins, “To instruct man and correct his morals: When Franval and the cleric have a debate, de Sade gives Franval all the smart arguments. Thirty-six year old Lord Granwell, the wickedest man in London, is sitting around drinking with his cronies when franva, spots a beautiful seventeen-year-old girl; we learn she is renowned as the prettiest woman in Great Britain.
Granwell is determined to have her. This beauty is Henrietta Stralson, the daughter of a country baronet. She is in town for a brief period while her beloved, Mr. Williams, collects an inheritance. One of the themes of the story is the decency of country folk and egenie iniquity and corruption of the town: Granwell captures Miss Stralson several times, has his lawyers obstruct Williams’ access to the inheritance, tries to frame Miss Stralson for a crime she did not commit, and so forth.
This potentially exciting scene takes place entirely off stage. Henrietta is confronted by her beloved’s corpse, pierced by thirteen daggers.
Euugenie takes one of the daggers, kills Granwell, eugenje then herself.
Granwell delivers extreme misogynist tirades, but franal he has Henrietta in his clutches her beauty, country innocence and clever deceptions conspire to soften his heart and he balks at raping her.
Granwell and Henrietta actually have two layers to their personalities, and are changed by events, unlike the monochrome figures in the other story. The point of the story, ostensibly, is to demonstrate the evils of “the disregard of those honorable principles without which neither we nor those around us can be happy on this earth.
If there is a moral to the story it is “don’t go to the city, and, if you do, don’t trust anybody! Bad, but on the periphery of mediocre. An Oxford edition “Florville and Courval” The first two stories were so lame that I almost abandoned this project and left this third story unread. But the presence of my underlinings was proof that in my twenties I had read it, and I didn’t want to believe that I had more perseverance in my twenties than I do today. De Sade hints that it may be a parody of English gothic novels by having Florville read an “incredibly gloomy English frsnval and remark that one of its characters is as unfortunate as she is.
How unfortunate is Florville? An orphan, she was raised by a good man, but then fell into the company of free thinkers and was seduced by a soldier named Senneval. Senneval impregnates her, then abandons Florville after she gives birth, taking their son with him. Almost two decades later our heroine meets her son; neither recognizes the other, and the son is driven mad with desire for his mother and rapes her after she refuses his advances. Before he can rape her a second time Florville snatches up scissors and stabs her son ehgenie death, for which she feels guilty; she was just trying to scare him!
After some years and some other equally bizarre coincidences, Florville marries a gentleman, Courval. It seems possible that Florville and Courval might live out their old age happily together, but then Senneval reappears. The characters realize that Courval is both Senneval’s franva Florville’s father, so that Florville has had sex with her father, her brother, and her son.
A chart detailing everybody’s relationships would have been helpful.
Eugenie de Franval and Other Stories
Florville grabs one of Senneval’s pistols and blows her brains out. De Sade concludes by reminding us that “it is only in the darkness of the tomb that man can find the calm which the wickedness of his fellow man, the disorder of his passions, and, above all, the decrees of his fate, will always refuse to him on this earth.
De Sade includes long monologues from libertine atheist types arguing in favor of promiscuity and licentiousness and against religion, and from conservative types advocating virtue and religion. Both sides’ rranval are competent, if not exactly groundbreaking Pascal’s wager makes an appearance. De Sade also contrasts the dying moments of a pious Christian woman and those of an atheist woman who devoted her life to sexual pleasure; the Christian is stricken with fear and regret while the atheist is composed and even happy.
This reminded me of Boswell’s famous interview with David Hume on Hume’s deathbed in The best of the three selections in the Bantam Classics edition of Crimes of Love”Florville and Courval” achieves some small level of interest and entertainment value. They fail if judged as we conventionally judge fiction, on plot, style, or character.
They also fail to shock or provide much insight into de Sade’s radical philosophy, because he pulls his punches and at times even pretends to be advocating traditional morality. If the Marquis de Sade is an important eugehie in literary or intellectual history, as we are sometimes told, these three stories are not evidence of that fact.
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A printing of “Eugenie de Franval” with a more marketable title from Hesperus Press.