The article focuses on the book "The Marquis de Sade," edited by Paul Dinnage. Donatien-Alphonse-François de Sade's sense of apartness, his inferiority complex found good ground for an over-compensation, when the French Revolution came, he felt entitled to speak as the Moses, the lawgiver of the new Republic. The present volume, besides containing Simone de Beauvoir's illuminating essay, supplies a good selection which does not shy at scabrous passages. The section from "Juliette" will be enough to illustrate that strange quality of Sade which makes him curiously modern, the perfectly empty musical construction of the hero of Thomas Mann's "Doctor Faustus."