“From the point of view of the Marquis de Sade there is nothing but nature, and whatever nature commands is right. The very fact that I have a desire is a sign that it exists in nature, and the fact that it exists means that nature wills it, and if nature wills it, it would be wrong — i.e., a sin — not to act on a desire which nature has implanted in us.”
E. Michael Jones
Monsters from the Id — pg. 27
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“Women… are nothing but machines designed for voluptuousness.”
Marquis de Sade
Justine
One desperately would have liked to ask de Sade, “Designed by whom (?).”
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“Mme. Roland, the Girondist leader who eventually lost her head to the revolution described scenes in which ‘women were brutally violated before being torn to pieces by those tigers; intestines cut out and worn as turbans; bleeding human flesh devoured.'”
Jacques Barruel
History of Jacobinism — pg. xii
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“If the object of classical politics was the tranquility of order, a kind of stasis, then revolutionary politics chose motion as its goal. Passion, which according to classical tradition, disrupted order was now seen as the engine of progress. Movement, for a revolutionary, was its own justification. What the revolutionaries failed to see was the direction movement was taking. Passion seemed to be a function of the will, but as the initial euphoria of the revolution was replaced by the Terror, it became obvious that passion followed no law but its own and that the trajectory that began with passion and ended in horror was pre-programmed from the beginning, no matter how the intentions of the revolutionaries protested to the contrary…. The French intelligentsia had embarked on the trajectory of emancipating the sexual impulse from the moral order some time before and were now entering the end phase of that trajectory as the revolution, itself a manifestation of the trajectory , engendered the Terror and an orgy of sadistic violence and murder.”
E. Michael Jones
Monsters from the Id — pg. 37
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“… the early phase of the Enlightenment (held) that releasing sexual passions from the confines of the moral order can be managed and its bad effects rendered harmless by technology (penicillin, the condom, etc.) or legislation (no fault divorce, sexual harassment statutes, etc.) What begins as sex emancipated from the moral order ends in murder and death.”
E. Michael Jones
Monsters from the Id — pg. 38
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“Msgr. Knox has written that when men get the upper hand in Utopian communities polygamy is the rule; but when women get the upper hand, the rule is celibacy. Once convention is eschewed in favor of revolutionary authenticity in sexual matters this sexual antagonism begins to assert itself.”
E. Michael Jones
Monsters from the Id — pg. 41
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“Horror and Enlightenment are two sides of the same coin. Like Mary Shelley we too are the captive to two contradictory imperatives: We as a culture can’t disavow the Enlightenment, especially its commitment to sexual liberation, and at the same time, we can’t deny that people get hurt when they act on these imperatives….
The two monsters of the Enlightenment, now immortalized on cereal boxes, also portray two phases of the Enlightenment as it actually got implemented, as opposed to what it proposed. Frankenstein epitomizes Phase I of the Enlightenment project — the early, ostensibly altruistic, optimistic phase, when the revolution, no matter how horrific its execution, still seemed plausible as a way of bettering mankind. This is the electricity phase, the phase of youthful energy, captured in Wordsworth’s phrase, ‘Bliss was it that dawn to be alive. / But to be young was very heaven!’ Dracula symbolizes phase II of the Enlightenment — the syphilitic phase, the disillusionment phase, when blood has been not only shed but polluted, generally by venereal disease as the logical consequence of sexual liberation. By the time the Enlightenment arrives in Germany during the Weimar Republic, revolution is seen as a draining of the blood of the innocent, and the revolutionary leader is seen as the scientific Vampire, as Dr. Caligari and Nosferatu and the doctor in Dreyer’s Vampyr were viewed at the time….
Vampirism and disease are ultimately metaphors for lust, which is a perversion of sexuality into something not life giving but life draining. The trajectory of the Enlightenment then has Frankenstein as its terminus a quo and Dracula as its terminus ad quem.”
E. Michael Jones
Monsters from the Id — pg. 62, 63
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“The crucial step taken by La Mettrie and the Marquis de Sade was the transformation of man into a machine as prelude to manipulating him as the scientist would manipulate inanimate nature. Because Christianity posited a certain sacredness to life, it was also seen as the major obstacle to the fulfillment of forbidden desire. Christianity, as a result, was construed as the enemy by Shelley and his circle. Science was an essential weapon in the arsenal he used to attack Christianity, the family, marriage, property, and government…. ‘Oh!’ wrote the aspiring young chemist,
‘I burn with impatience for the moment of Xtianity’s dissolution, it has injured me; I swear on the altar of perjured love to revenge myself on the hated cause of the effect which even now I can scarcely help deploring.! — Indeed I think it is to the benefit of society to destroy an opinion which can annihilate the dearest of its ties … — Let us hope that the wound which we inflict tho’ the dagger be concealed, will rankle in the heart of our adversary….
The more Shelley became convinced that he was in possession of the secrets of nature, the more violent became his hatred of ‘unnatural’ conventions like the family, the state, and religion, in particular Christianity: ‘Yet here I swear, and as I break my oath may Infinity Eternity blast me, here I swear that I will never forgive Christianity! … Oh I wish I were the anti-Christ, that it were mine to crush the Demon, to hurl him to his native Hell to never rise again.'”
E. Michael Jones
Monsters from the Id — pg. 69, 71
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Very interesting take on monsters, particularly Dracula/the vampire. I’ve long seen Stoker’s “Dracula” as a very apt metaphor for the jew. Here is a devil-linked creature, the consummate parasite who feeds on the lifeblood of those he despises, moving and working in the dark, fearing and despising the clean, antiseptic power of the sun. Here is a seducer, an exploiter who hates and fears any symbol of the Christ Whose very heel is forever hurtling towards the vampire’s dark head. Here is a villain who is permanently tied to his own tribe and wallows in that tribe’s own literal imported filth each slumbering day in his coffin. Here is a defiler of Western women who swoon at his dirty and practiced touch, a polluter of blood, a thief of innocence and life. Here is a fiend who is aided by stupid, bewitched members of the very nation the vampire seeks to destroy. Here is a devil who can change and adapt in order to evade detection and capture. Here is a low being whose fine clothes and luxuries cannot mask his rotten breath and wolfish claws. Yes, to me, the old Irishman’s Count is no mere monster, no mere pervert. He is of the very seed of the old serpent, the dragon.