final major project

The Nine Satanic Statements

from The Satanic Bible, ©1969

by Anton Szandor LaVey

1. Satan represents indulgence instead of abstinence!

2. Satan represents vital existence instead of spiritual pipe dreams!

3. Satan represents undefiled wisdom instead of hypocritical self-deceit!

4. Satan represents kindness to those whodeserve it instead of love wasted on ingrates!

5. Satan represents vengeance instead of turning the other cheek!

6. Satan represents responsibility to the responsible instead of concern for psychic vampires!

7. Satan represents man as just another animal, sometimes better, more often worse than those that walk on all-fours, who, because of his “divine spiritual and intellectual development,” has become the most vicious animal of all!

8. Satan represents all of the so-called sins, as they all lead to physical, mental, or emotional gratification!

9. Satan has been the best friend the Church has ever had, as He has kept it in business all these years!

The Eleven Satanic Rules of the Earth

by Anton Szandor LaVey ©1967

[Spanish, Croation]

1. Do not give opinions or advice unless you are asked.
2. Do not tell your troubles to others unless you are sure they want to hear them.
3. When in another’s lair, show him respect or else do not go there.
4. If a guest in your lair annoys you, treat him cruelly and without mercy.
5. Do not make sexual advances unless you are given the mating signal.
6. Do not take that which does not belong to you unless it is a burden to the other person and he cries out to be relieved.
7. Acknowledge the power of magic if you have employed it successfully to obtain your desires. If you deny the power of magic after having called upon it with success, you will lose all you have obtained.
8. Do not complain about anything to which you need not subject yourself.
9. Do not harm little children.
10. Do not kill non-human animals unless you are attacked or for your food.
11. When walking in open territory, bother no one. If someone bothers you, ask him to stop. If he does not stop, destroy him.

PENTAGONAL REVISIONISM:

A FIVE-POINT PROGRAM

by Anton Szandor LaVey ©1988

In recent years, we’ve wasted far too much time explaining that Satanism has nothing to do with kidnapping, drug abuse, child molestation, animal or child sacrifice, or any number of other acts that idiots, hysterics or opportunists would like to credit us with. Satanism is a life-loving, rational philosophy that millions of people adhere to. Now we’re ready for something that goes quite a few steps beyond just explaining our principles. Every revisionist movement needs a set of goals/guidelines that are clear, concrete, and that will effect significant changes.
The following Five-Point Program reflects attitudes which allow others to decide whether they wish to align themselves with Satanism or not. Each is necessary for Satanic change to take place. When asked what we’re “doing,” here’s the answer:
1. Stratification—The point on which all the others ultimately rest. There can be no more myth of “equality” for all—it only translates to “mediocrity” and supports the weak at the expense of the strong. Water must be allowed to seek its own level without interference from apologists for incompetence. No one should be protected from the effects of his own stupidity.
2. Strict taxation of all churches—If churches were taxed for all their income and property, they’d crumble overnight of their own obsolescence, and the National Debt would be wiped out as quickly. The productive, the creative, the resourceful should be subsidized. So long as the useless and incompetent are getting paid, they should be heavily taxed.
3. No tolerance for religious beliefs secularized and incorporated into law and order issues—to re-establish “Lex Talionis” would require a complete overturning of the present in-justice system based on Judeo-Christian ideals, where the victim/defender has been made the criminal. Amnesty should be considered for anyone in prison because of his alleged “influence” upon the actual perpetrator of the crime. Everyone is influenced in what he or she does. Scapegoating has become a way of life, a means of survival for the unfit. As an extension of the Judeo-Christian cop-out of blaming the Devil for everything, criminals can gain leniency, even praise, by placing the blame on a convenient villain. Following the Satanic creed of “Responsibility to the responsible,” in a Satanic society, everyone must experience the consequences of his own actions—for good or ill.
4. Development and production of artificial human companions—The forbidden industry. An economic “godsend” which will allow everyone “power” over someone else. Polite, sophisticated, technologically feasible slavery. And the most profitable industry since T.V. and the computer.
5. The opportunity for anyone to live within a total environment of his or her choice, with mandatory adherence to the aesthetic and behavioral standards of same—Privately owned, operated and controlled environments as an alternative to homogenized and polyglot ones. The freedom to insularize oneself within a social milieu of personal well-being. An opportunity to feel, see, and hear that which is most aesthetically pleasing, without interference from those who would pollute or detract from that option.

This is the encapsulated version of the current thrust of Satanic advocacy. So when someone asks you, “Well, what do Satanists do?”, you will be qualified to tell him. 

Marquis de Sade is the most infamous third rate writer in the history of French literature; occasionally he has been hailed as "the freest spirit who has ever existed." The erotic writings of de Sade gave rise to the term sadism – enjoyment of cruelty – which first made it into a dictionary in 1834. In 'Idées sur les romans' (1800) de Sade said that the essence of novelistic representation lies in the writer's incestuous relationship with nature. To be true to this relationship is to eschew all limitations, and exceed the bounds of convention and knowledge. Sade's works have been seen as exploration of sexual and political freedom. On the other hand he was a multiple rapist, torturer, and proto-murderer.

"But if there seems little reason for literary people to concern themselves with Sade, he has found a new lease of life among philosophers and anthropologists. Bored and uneasy with our little lives we resort to the greater amplitude of symbols. Bardot, Byron, Hitler, Hemingway, Monroe, Sade: we do not require our heroes to be subtle, just to be big. Then we can depend on someone to make them subtle." (D.J. Enright in 'The Marquis and the Madame', in Conspirators and Poets, 1966)

Donatien Alphonse François de Sade was born in Paris into an aristocratic family. He was the only surviving child of Jean-Baptiste de Sade and his wife Marie-Eléonore de Maillé, a distant cousin of the Prince de Conde. His family had been ennobled in the 12th century and remained a major power-broker in the southern region of Provence. "Connected, through my mother, to all the greatest powers in the kingdom and, through my father, the most distinguished families of the provenance of Languedoc; born in Paris in the bosom of luxury and plenty, I believed, from the very first moment I could reason, that nature and fortune had collaborated to lavish me with their gifts; I believed it because people were foolish enough to tell me so, and this ridiculous prejudice made me haughty, despotic, and choleric..." (from Aline et Valcour, 1795)

Aged four, de Sade was sent to Avignon into the care of his uncle, Abbe de Sade, whose sexual life was notoriously irregular. After this period de Sade attended the Jesuit college of Louis Le Grand. From the age of 14 to 26 de Sade was in active military service, and participated in the Seven Years War. He married in 1763 Renée-Pélagie de Montreuil, the daughter of a high-ranking bourgeois family, but also began an affair with an actress and invited prostitutes to his house.

In 1768 de Sade held a prostitute called Rose Keller captive and abused her. The chief of the Paris vice squad warned brothels of de Sade – he was considered a mortal threat to prostitutes. In the following years de Sade was found guilty of all kinds of sexual crimes, and he managed to anger Mme. de Montreuil, his mother-in-law by seducting her younger daughter, Anne-Prospre, when she was visiting his medieval fortress at La Coste in Provence. The unabated de Sade had again an orgy, but probably he never killed anyone, except in the war.

At Aix in 1772 de Sade received the penalty of death for an unnatural crime and poisoning, but escaped to Italy with his valet Latour. After arrest he was excluded from Paris and sent to his wife's family home in Normandy. At La Coste de Sade continued to arrange orgies from 1773 to 1777 – he had hired a harem of young girls as sexual slaves. After continuous scandals and charges de Sade was arrested and sent to round tour of 27 years in prisons, which started in the dungeon of Vincennes on February 13, 1777. Probably his imprisonment had been arranged by Mme. de Montreuil, whom he remembered in his writings: "Oh, powers from Hell, grant me Nero's wish, that all women have but one head and that this head belong to the shrew who tyrannizes me; then grant me the pleasure of chopping it off!" At Vicennes he was sometimes fed through the bars of his cage, but he also wanted to keep up some standards and wrote in a letter: "Send me a little prune-colored redingote, with suede vest and trousers, something fresh and light but most specifically not made out of linen; as for the other costume, make it Paris Mud in hue with a few silver trimmings, but definitely not silver braid." To overcome boredom he started to write sexually graphic novels and plays.

After escape de Sade was transferred in 1784 to Bastille in Paris, where he had a large room, sixteen feet in diameter. In the new surroundings the hard-working prisoner wrote LES 120 JOURNÉES DE SODOME, an underground classic over a hundred years. He was released from insane asylum at Charenton on April 2, 1790. Renée-Pélagie obtained a divorce. Next year, at the age of 51, de Sade published JUSTINE (1791). In the sequel, JULIETTE (1797), the heroine was Justine's sister, who enjoys the delights of evil: "How delicious are these implements of torture, of the crime that we love." de Sade boldly addressed a copy of the novel to Napoleon in 1803. Napoleon refused to set de Sade free. Juliette, which consisted of six volumes, was the second part of the monumental LA NOUVELLE JUSTINE (1797), nearly four thousand pages long Gospel of Evil, which manifested that vice – or the pleasures of imagination – cannot be punished by imprisonment. - See also Voltaire's Candide (1759), Charles Baudelaire's Les Fleurs du Mal (1857), Comte de Lautréamont's Les Chants de Maldoror (1869).

Justine, de Sade's most famous work, depicts graphically sexual encounters of a poor young girl. de Sade wrote an early version of the novel in the Bastille and completed it in 1791 while free. In de Sade's philosophy God is evil and the misfortunes suffered by Justine are a result from denying this truth. de Sade himself declared Justine a work "capable of corrupting the devil" and denied his authorship. According to D.J. Enright, de Sade's philosophy was very simple: "if you enjoy wickedness, it shows that Nature intended you to be wicked, and it would be wicked not to be." Some 19th-century writers were inspired by de Sade's belief that people should act on their instincts. "Irrités de ce premier crime, les monstres ne s'en tinrent pas là; ils l'étendirent ensuite nue, à plat ventre sur une grande table, ils allumèrent des cierges, ils placèrent l'image de notre sauveur à sa tête et osèrent consommer sur les reins de cette malheureuse le plus redoutable de nos mystères." (from Les Infortunes de la Vertu, 1787)

Somehow de Sade survived through the years of the French Revolution, although many other aristocrats were executed and his name was in 1794 on a list of prisoners to be brought to trial. To secure his freedom and property he wrote an eulogy of Marat, and got elected secretary of his district in Paris. In 1801 he was again arrested and sent to Charenton, where he began to work a 10-volume novel, Crimes of Passion. During this period he also wrote and staged plays in the asylum, although Minister of the Interior issued the order, that the "greatest care [must] be taken to prevent any use by him [Sade] of pencils, pens, ink, or paper." His last days de Sade spent under the control of an ex-abbé. After his death on December 2, 1814, his elder son burned his last and other manuscripts. de Sade's grave was later desecrated when his skull was taken for pseudo-scientific measurements.

Although de Sade wrote many plays, they have remained largely unpublished and unproduced. However, the Marquis has securured his literary immortality. French poet Guillaume Apollinaire claimed that the writing of de Sade would dominate the 20th-century. de Sade's work has prompted pornographic literature, academic studies, and films, including Pier Paolo Pasolini's Salo, or The 120 Days of Sodom(1975) and Philip Kaufman's Quills (2000), starring Kate Winslet, Geoffrey Rush, Joaquin Phoenix, and Michael Caine. The film was based Doug Wright's play from 1995.

For further reading: The Marquis De Sade: A Life by Neil Schaeffer (1999); At Home with the Marquis de Sade: A Life by Francine du Plessix Gray (1999); Sade: A Biographical Essay by Laurence L. Bongie (1999);The Philosophy of the Marquis de Sade by Timo Airaksinen (1995); Sade’s Wife: The Woman Behind the Marquis by Margaret Crosland (1995); Marquis de Sade: A Biography by Maurice Lever (1993); Sade: A Sudden Abyss by Annie Le Brun (1990); Le Mariage du marquis de Sade by Alice M. Laborde (1988);Intersections by Jane Gallop (1981); The Sadeian Woman by Angela Carter (1979); DeSade: A Critical Biography by Ronald Hayman (1978); Lectures de Sade by Francoise Laugaa-Traut (1973); Sade, Fourier, Loyola by Roland Barthes (1971), La Passion de la marquise de Sade by Jeanine Delpech (1970);Lautréamont et Sade by Maurice Blanchot (1949); Sade mon prochain by Pierre Klossowski (1947)
Selected works:

• DIALOGUE ENTRE UN PRÊTRE ET UN MORIBOND, 1782 - Dialogue Between a Priest and a Dying Man (tr. Samuel Putnam, 1927) / 'Dialogue Between a Priest and a Dying Man', in The Misfortunes of Virtue and Other Early Tales (tr. David Coward, 1992)
• LES INFORTUNES DE LA VERTU, 1787 - 'The Misfortunes of Virtue', in The Misfortunes of Virtue and Other Early Tales (tr. David Coward, 1992)
• JUSTINE; OU, LES MALHEURS DE LA VERTU, 1791 (La Nouvelle Justine, 1797) - Justine; or, The Misfortunes of Virtue (tr. Alan Hull Walton, 1964) / Justine (tr. Richard Seaver and Austryn Wainhouse, in Justine, Philosophy in the Bedroom and Other Writings, 1965) / Justine, or The Misfortunes of Virtue (in The Complete Marquis de Sade, Vol. 1, Paul J. Gillett, 1966) - Justine, eli, Hyveellisen neidon kovat kokemukset (suomentanut Heikki Kaskimies, 1970) - films: 1963, Le Vice et la vertu, dir. by Roger Vadim, starring Annie Girardot, Catherine Deneuve, Robert Hossein, O.E. Hasse; 1969, Marquis de Sade: Justine, dir. by Jesus Franco, starring Romina Power, Maria Rohm, Klaus Kinski ; 1972, Justine de Sade, dir. by Claude Pierson, starring Alice Arno; 1975, Justine och Juliette, dir. by Mac Ahlberg, starring Marie Forså, Anne Bie Warburg; 1977, Cruel Passion, dir. by Chris Boger, starring Koo Stark, Lydia Lisle
• ALINE ET VALCOUR; OU, LE ROMAN PHILOSOPHIQUE, 1795
• LA PHILOSOPHIE DANS LE BOUDOIR, 1795 - The Bedroom Philosophers (tr. Pieralessandro Casavini, 1965) / Justine, Philosophy in the Bedroom, and Other Writings (tr. Richard Seaver and Austryn Wainhouse, 1965) / Philosophy in the Bedroom (in The Complete Marquis de Sade, Vol. 1, tr. Paul J. Gillett, 1966) / Philosophy in the Boudoir: Or, The Immoral Mentors (tr. Joachim Neugroschel, 2006) - Filosofia budoaarissa, eli, Epämoraaliset kasvattaja (suom. Tommi Nuopponen, 2003) - films: 1970, Eugenie, dir. by Jesus Franco, starring Marie Liljedahl, Maria Rohm,Christopher Lee, Jack Taylor; 1971, La Philosophie dans le boudoir, dir. by Jacques Scandelari, starring Souchka, Lucas de Chabanieux, Fred Saint-James; 1980, Eugenie (Historia de una perversión), dir. by Jesus Franco, starring Katja Bienert, Antonio Mayans, Lina Romay, Mabel Escaño; 1985, Philosophy in the Bedroom , dir. by Tony Guzman, starring Jennifer Fabos, Anna Simone Scott; 2005, L'Educazione sentimentale di Eugenie, dir. by Aurelio Grimaldi, starring Sara Sartini, Antonella Salvucci, Valerio Tambone
• LA NOUVELLE JUSTINE, 1797 (second part, Juliette; ou, Les Prospérités du Vice) - Juliette (tr. Austryn Wainhouse, 1968) - film 1970, dir. by Jesus Franco, starring Soledad Miranda
• PAULINE ET BELVAL; OU, LES VICTIMES D'UN AMOUR CRIMINEL, 1798
• OXTIERN; OU, LES MALHEURS DU LIBERTINAGE, 1800 (play, prod. 1791)
• LES CRIMES DE L'AMOUR: NOUVELLES HÉROÏQUES ET TRAGIQUES, 1800 (includes 'Eugénie de Franval' etc., as Historiettes, contes, et fabliaux, ed. Maurice Heine, 1926; selection, as Quartet, 1963) - Eugénie de Franval, and Other Stories (tr. Margaret Crosland, 1965) / The Crimes of Love (tr. Margaret Crosland, 1996; a selection, trans. David Coward, 2005) - films: 1974, Eugénie de Franval, dir. by Louis Skorecki ; 1975, dir. by Jesus Franco, starring Soledad Miranda; 1998, Island, Alicia , dir. by Ken Yunome
• ZOLOÉ ET SES DEUX ACOLYTES; OU, QUELQUES DÉCADES DE LA VIE DE TROIS JOLIES FEMMES: HISTOIRE VÉRITABLE DU SIÈCLE DERNIER, 1800
• LES JOURNÉES DE FLORBELLE; OU, LA NATURE DÉVOILÉE, 1807 (unfinished, manuscript burned) - The Ghosts of Sodom: The Charenton Journals (includes working notes for The Days of Florbelle; or, Nature Unveiled, tr. 2003) /
• LE MARQUISE DE GANGE, 1813
• DORCI; OU, LA BIZARRIE DU SORT, 1881
• LES 120 JOURNÉES DE SODOME; OU, L'ECOLE DU LIBERTINAGE, 1904 (written 1782-85, ed. by Maurice Heine, 3 vols., 1931-35) - The 120 Days of Sodom; or, The Romance of the School for Libertinage (2 vols., tr. by Pieralessandro Casavini, 1954) / The 120 Days of Sodom and Other Writings (tr. Richard Seaver and Austryn Wainhouse, 1966) - Sodoman 120 päivää (suomentanut Heikki Kaskimies, 1989) - film adaptation in 1975, Salò o le 120 giornate di Sodoma, dir. byPier Paolo Pasolini, screenplay by Sergio Citti
• ŒUVRES, 1907
• DIALOGUE ENTRE UN PRÊTRE ET UN MORIBUND, 1926 (ed. by Maurice Heine)
• HISTORIETTES, CONTES ET FABLIAUX, 1926
• CORRESPONDANCE INÉDITE, 1929 (ed. by Paul Bourdin)
• LES INFORTUNES DE LA VERTU, 1930 (ed. by Maurice Heine)
• CAHIERS PERSONNELS, 1953 (ed. by Gilbert Lély)
• HISTOIRE SECRÈTE D'ISABELLE DE BAVIÈRE, REINE DE FRANCE, 1953 (ed. by Gilbert Lély)
• Selected Writings, 1953 (ed. by Margaret Crosland)
• OEUVRES, 1953-70 (35 vols.)
• ŒUVRES COMPLÈTES, 1954 (ed. by G. Bataille)
• LETTRES INÉDITES 1778-1784, 1954 (ed. by Gilbert Lély)
• ÉCRITS POLITIQUES, 1957 (includes Oxtiern)
• NOUVELLES EXEMPLAIRES, 1958 (ed. by Gilbert Lély)
• MON ARRESTATION DU 26 AOÛT: LETTRE INÉDITE, SUIVIE DES ÉTRENNES PHILOSOPHIQUES, 1959 (ed. by Gilbert Lévy)
• ŒUVRES COMPLÈTES DU MARQUIS DE SADE, 1961 (edited by Gilbert Lély)
• The Crimes of Love, 1964 (short stories)
• Selected Letters, 1965 (translated by W.J. Strachan, edited by Margaret Crosland)
• The Complete Marquis de Sade, 1966 (2 vols., tr. Paul J. Gillett)
• JOURNAL IDÉNIT, 1970 (ed. by G. Daumas)
• ŒUVRES, 1990
• CORRESPONDANCES DU MARQUIS DE SADE ET DE SES PROCHES ENRICHIES DE DOCUMENTS, NOTES ET COMMENTARIES, 1991-1997 (ed. by Alice M. Laborde)
• Plays of the Marquis de Sade, 1993 (translated and edited by John Franceschina and Ben Ohmart)
• Letters From Prison, 1999 (tr. Richard Seaver)