In addition, and in the first place, laws are an expression of the idea of a “universal”, i.e. in Stirnerian, of a craze. He calls them, equivalent to Stirner, “Chimeras”. In the “Philosophie dans le Boudoir”, he explains: “Parce que les lois ne sont pas faites pour le particulier, mais pour le general, ce qui les met dans une perpétuelle contradiction avec l’intérêt personnel, attend que l’intérêt personnel l’est toujours avec l’intérêt général” (Sade, Philosophie dans le Boudoir, 470).
In order to read crime in the Sadean sense with Stirner, it is necessary to distinguish various meanings of this term. In the works of Sade, crime does not equal crime. In his works “Les Cent vingt journées de Sodome”, “La Nouvelle Justine” and “Histoire de Juliette”, Sade repeatedly reflected on the concept of crime. One can derive from them roughly three levels of his concept of crime:
Al fine di completare l’argomentazione, possiamo ora ritornare ai testi, in particolare al discorso sulla rivolta metafisica che avevamo lasciato in sospeso.
Sia Nietzsche che Stirner, nel procedere del loro filosofare, entrano in una sorta di cortocircuito del ragionamento nel quale sembra, a mio avviso, che solo l’arte – la letteratura – possa mantenere un senso.
“…when whole nations, at first guided by priests, after having slaughtered each other in the name of their chimerical divinities, later take up arms for their king or country, the homage offered to heroism counterbalances the tribute paid to superstition; not only do they then most rightly substitute these new heroes for their gods, but they also sing their warrior’s praises as once they had sung the praises of Heaven…”
–The Marquis de Sade, Reflections on the Novel