Les Liaisons dangereuses  

From The Art and Popular Culture Encyclopedia

Revision as of 22:13, 1 October 2022

Related e

Wikipedia Wiktionary Shop Featured: Rhombicuboctahedron by Leonardo da Vinci

Les Liaisons dangereuses (Dangerous Liaisons) is a famous French epistolary novel by Pierre Choderlos de Laclos, first published in 1782.

The book fascinates with its dark undertones. It is the story of the Marquise de Merteuil and the Vicomte de Valmont, two rivals who use sex as a weapon to humiliate and degrade others, all the while enjoying their cruel games. It also depicts the decadence of the French aristocracy shortly before the French Revolution; thus it is seen as a work that exposes the perversions of the so-called Ancien Régime.

The book is an epistolary novel, composed entirely of letters written by the various characters to each other. In particular, the letters between Valmont and the Marquise drive the plot, with those of other characters serving as illustrations to give the story its depth.

The story has been adapted as a film several times—notably in 1988 as Dangerous Liaisons, directed by Stephen Frears, in 1989 as Valmont, directed by Miloš Forman with screenplay by Jean-Claude Carrière, and in 1999 as Cruel Intentions, written and directed by Roger Kumble.

The novel is often claimed to be the origin of the saying "Revenge is a dish best served cold". However the expression does not actually occur in the original novel.

Plot summary

The Vicomte de Valmont is determined to seduce the virtuous (and married) Madame de Tourvel, who is living with Valmont's aunt while Monsieur de Tourvel is away for a court case. At the same time, the Marquise de Merteuil is determined to corrupt the young Cécile de Volanges, whose mother has only recently brought her out of a convent to be married to a former lover of Merteuil. Cécile falls in love with the Chevalier Danceny (her music tutor) and Merteuil and Valmont pretend to want to help the secret lovers in order to gain their trust, so that they can use them later in their own schemes.

Merteuil suggests that the Vicomte seduce Cécile in order to exact her revenge on Cécile's future husband. Valmont refuses as he wants to devote himself to seducing Madame de Tourvel. Merteuil promises Valmont that if he seduces Madame de Tourvel and provides her with written proof, she will spend the night with him. He expects rapid success, but does not find it as easy as his many other conquests. During the course of his pursuit, he discovers that Cécile's mother has written to Madame de Tourvel about his bad reputation. He avenges himself in seducing Cécile as Merteuil had suggested. In the meantime, Merteuil takes Danceny as a lover.

By the time Valmont has succeeded in seducing Madame de Tourvel, it is clear he has fallen in love with her. Jealous, Merteuil tricks him into breaking up with Madame de Tourvel — and reneges on her promise of spending the night with him. In response Valmont reveals that he prompted Danceny to reunite with Cécile, thus abandoning Merteuil. Merteuil declares war on Valmont, as such she reveals to Danceny that Valmont seduced Cécile.

Danceny and Valmont duel. Valmont is fatally wounded, but before he dies he is reconciled with Danceny, giving him the letters proving Merteuil's own involvement. Two of these are sufficient to ruin her health and her reputation, and she flees the country. Furthermore, her face is left permanently scarred by her illness, and so she loses her greatest asset: her beauty. But the innocent still suffer: hearing of Valmont's death, Madame de Tourvel succumbs to a fever, while Cécile returns to the convent.

Literary significance and criticism

Les Liaisons dangereuses is celebrated for its exploration of seduction, revenge, and human malice, presented in the form of fictional letters collected and published by a fictional author. 'The book wasn't viewed as scandalous at the time of its publications, though the real intentions of the author remain unknown. It has been suggested that Laclos's intention was the same as that of his fictional author in the novel; to write a morality tale about the corrupt, squalid nobility of the Ancien Régime. However, this theory has been questioned on several grounds. In the first place, Laclos enjoyed the patronage of France's most senior aristocrat - the duc d'Orléans. Secondly, all the characters in the story are aristocrats, including the virtuous heroines - Madame de Tourvel and Madame du Rosemonde. Finally, many ultra-royalist and conservative figures enjoyed the book, including Queen Marie-Antoinette, which suggests that - despite its scandalous reputation - it was not viewed as a political work until the events of the French Revolution years later made it appear as such, with the benefit of hindsight.

Wayland Young in Eros Denied notes that most critics have viewed the work as

... a sort of celebration, or at least a neutral statement, of libertinism... pernicious and damnable... Almost everyone who has written about it has noted how perfunctory are the wages of sin...

He argues, however, that

... the mere analysis of libertinism… carried out by a novelist with such a prodigious command of his medium... was enough to condemn it and play a large part in its destruction.

Adaptations

The novel was adapted by the German playwright Heiner Müller in 1981, entitled Quartet. The novel has also been made into a play by Christopher Hampton which opened on London's West End and later crossed over to Broadway with Alan Rickman originating the role of the Vicomte de Valmont, Lindsay Duncan as Marquise de Merteuil, and Juliet Stevenson as Tourvel. It has also been adapted into various other media, under many different names.

Film

• Les Liaisons dangereuses (1959), directed by Roger Vadim and starring Jeanne Moreau, Gérard Philipe, and Annette Vadim. In this version, Vadim updates the story to a late-1950s French bourgeois milieu.
• Uiheomhan gwangye - literally "Dangerous Liaison" in Korean - (1970), a Korean adaptation directed by Young Nam Ko and starring Mu-ryong Choi, Hie Mun, and Ji-myeong Oh
• Dangerous Liaisons (1988), directed by Stephen Frears and starring Glenn Close, John Malkovich, and Michelle Pfeiffer (based on Hampton's play). This version uses 18th century costumes and dazzling shots of the Île-de-France region around Paris. It was nominated for multiple Academy Awards including Best Picture.
• Valmont (1989), directed by Miloš Forman and starring Annette Bening, Colin Firth, and Meg Tilly.
• Cruel Intentions (1999), directed by Roger Kumble and starring Sarah Michelle Gellar, Ryan Phillippe, and Reese Witherspoon relocates the story to modern-day New York and is set amongst upper-class High School teens.
• Untold Scandal (2003), directed by Lee Je Yong and starring Lee Mik Suk, Jeon Do Yeon, and Bae Yong Joon (transposes setting to 18th century Korea).
• Michael Lucas' Dangerous Liaisons (2005), an X-rated gay pornographic film variously described as a film adaptation and a remake. Directed by Michael Lucas with non-sexual cameo appearances by Boy George, Lady Bunny, Amanda Lepore, Hedda Lettuce, Michael Musto, Graham Norton, RuPaul, and Bruce Vilanch.

Television

• Les Liaisons dangereuses (1980), a French television film directed by Claude Barma, starring Claude Degliame, Jean-Pierre Bouvier and Maïa Simon)
• Les Liaisons dangereuses (TV miniseries) (2003), a French television miniseries directed by Josée Dayan and starring Catherine Deneuve, Rupert Everett, Leelee Sobieski and Nastassja Kinski, which relocates the story to the 1960s

Radio

• An eight-part adaptation of the novel was broadcast as BBC Radio 4's "Woman's Hour Drama" (20-30 July 1992). It starred Juliet Stevenson, Samuel West, Melinda Walker, Diana Rigg, and Roger Allam.
• A two-part presentation of Christopher Hampton's play by BBC World Service in 1998. It starred Ciaran Hinds (Vicomte de Valmont), Lindsay Duncan (Marquise de Merteuil), and Emma Fielding (Mme. de Tourvel). It won the Grand Award for Best Entertainment Program at the New York Radio Festival.

Opera

• The Dangerous Liaisons (1994, rev. 1996–1997) by the American composer Conrad Susa, commissioned by the San Francisco Opera. The opera was also aired on television in 1994 under the direction of Gary Halvorson and starring Frederica von Stade, Thomas Hampson, and Renée Fleming
• Les liaisons dangereuses (1996) by Belgian composer Piet Swerts

Ballet

• In 2008, the Alberta Ballet performed a ballet version of Dangerous Liaisons

Sequel

• A Factory of Cunning (2005, ISBN 0 316 72928 0) by the English authoress Philippa Stockley describes the subsequent fate of the Marquise de Merteuil.

Reception

George Saintsbury

"Some surprise has been expressed by a friend of great competence at my leaving out Les Liaisons Dangereuses. I am, of course, aware that "persons of distinction" have taken an interest in it; and I understand that, not many years ago, the unfortunate author of the beautiful lines To Cynara wasted his time and talent on translating the thing. To make sure that my former rejection was not unjustified, I have accordingly read it with care since the greater part of this book was passed for press; and it shall have a judgment here, if not in the text. I am unable to find any redeeming point in it, except that some ingenuity is shown in bringing about the dénouement by a rupture between the villain-hero and the villainess-heroine, M. le Vicomte de Valmont and Mme. la Marquise de Merteuil. Even this, though fairly craftsmanlike in treatment, is banal enough in idea—that idea being merely that jealousy, in both sexes, survives love, shame, and everything else, even community in scoundrelism—in other words, that the green-eyed monster (like "Vernon" and unlike "Ver") semper viret. But it is scarcely worth one's while to read six hundred pages of very small print in order to learn this. Of amusement, as apart from this very elementary instruction, I at least can find nothing. The pair above mentioned, on whom practically hangs the whole appeal, are merely disgusting. Their very voluptuousness is accidental: the sum and substance, the property and business of their lives and natures, are compact of mischief, malice, treachery, and the desire of "getting the better of somebody." Nor has this diabolism anything grand or impressive about it—anything that "intends greatly" and glows, as has been said, with a black splendour, in Marlowesque or Websterian fashion. Nor, again, is it a "Fleur du Mal" of the Baudelairian kind, but only an ugly as well as noxious weed. It is prosaic and suburban. There is neither tragedy nor comedy, neither passion nor humour, nor even wit, except a little horse-play. Congreve and Crébillon are as far off as Marlowe and Webster; in fact, the descent from Crébillon's M. de Clérval to Laclos' M. de Valmont is almost inexpressible. And, once more, there is nothing to console one but the dull and obvious moral that to adopt love-making as an "occupation" (vide text, p. 367) is only too likely to result in the

τεχνη becoming, in vulgar hands, very βαναυσος indeed.</p>

The victims and comparses of the story do nothing to atone for the principals. The lacrimose stoop-to-folly-and-wring-his-bosom Mme. de Tourvel is merely a bore; the ingénue Cécile de Volanges is, as Mme. de Merteuil says, a petite imbécile throughout, and becomes no better than she should be with the facility of a predestined strumpet; her lover, Valmont's rival, and Mme. de Merteuil's plaything, M. le Chevalier Danceny, is not so very much better than he should be, and nearly as much an imbecile in the masculine way as Cécile in the feminine; her respectable mother and Valmont's respectable aunt are not merely as blind as owls are, but as stupid as owls are not. Finally, the book, which in many particular points, as well as in the general letter-scheme, follows Richardson closely (adding clumsy notes to explain the letters, apologise for their style, etc.), exhibits most of the faults of its original with hardly any of that original's merits. Valmont, for instance, is that intolerable creature, a pattern Bad Man—a Grandison-Lovelace—a prig of vice. Indeed, I cannot see how any interest can be taken in the book, except that derived from its background of tacenda; and though no one, I think, who has read the present volume will accuse me of squeamishness, I can find in it no interest at all. The final situations referred to above, if artistically led up to and crisply told in a story of twenty to fifty pages, might have some; but ditchwatered out as they are, I have no use for them. The letter-form is particularly unfortunate, because, at least as used, it excludes the ironic presentation which permits one almost to fall in love with Becky Sharp, and quite to enjoy Jonathan Wild. Of course, if anybody says (and apologists do say that Laclos was, as a man, proper in morals and mild in manners) that to hold up the wicked to mere detestation is a worthy work, I am not disposed to argue the point. Only, for myself, I prefer to take moral diatribes from the clergy and aesthetic delectation from the artist. The avenging duel between Lovelace and Colonel Morden is finely done; that between Valmont and Danceny is an obvious copy of it, and not finely done at all. Some, again, of the riskiest passages in subject are made simply dull by a Richardsonian particularity which has no seasoning either of humour or of excitement. Now, a Richardson de mauvais lieu is more than a bore—it is a nuisance, not pure and simple, but impure and complex.

I have in old days given to a few novels (though, of course, only when they richly deserved it) what is called a "slating"—an éreintement—as I once had the honour of translating that word in conversation, at the request of a distinguished English novelist, for the benefit of a distinguished French one. Perhaps an example of the process is not utterly out of place in a History of the novel itself. But I have long given up reviewing fiction, and I do not remember any book of which I shall have to speak as I have just spoken. So hic caestus, etc.—though I am not such a coxcomb as to include victor in the quotation." --A history of the French novel (to the close of the 19th century) (1919) by George Saintsbury

See also

Liaisons dangereuses (disambiguation)

• The human body as writing desk in "Les Liaisons dangereuses"
• Libertine novel
• 18th century in literature
• Epistolary novel
• French 18th century erotica
• Fictional portrayals of psychopaths in literature