, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

The Libertine is the mirror image of the True Innocent. At best, he (or she) is a free spirit willing to throw aside repressive moral convention and proclaim the primacy of pleasure. At worst, the Libertine is a deceitful seducer, a profligate gambler, a shameless fraud, or even a heartless murderer. Unlike the desperate Bandit forced to exist as an outlaw, the Libertine has typically chosen to be bad. Naturally, the Libertine is fated to pursue the True Innocent (and often be redeemed by their love). The following lists will help inspire Players and Presenters when creating their own Libertine characters for Ghastly Affair.

Some Historical Libertines:
Julie d’Aubigny
Paul Barras
William Beckford
Jeanne Bécu (Madame du Barry)
Lord Byron
Georgiana Cavendish, Duchess of Devonshire
Sir Francis Dashwood
William Douglas, Duke of Queensberry (“Old Q”)
Françoise-Athénaïs, marquise de Montespan
Grace Elliot (née Dalrymple)
George, Prince of Wales (later King George IV)
Lady Emma Hamilton
Gilbert Imlay
Lady Caroline Lamb
Louis-Philippe II, Duc d’Orléans
Marquis de Sade
Thérésa Tallien
Jeanne de Valois-Saint-Rémy (Jeanne de la Motte)
John Wilkes
John Wilmot, Earl of Rochester

Some Literary Inspirations:
Mr. B (Pamela; or, Virtue Rewarded – Samuel Richardson)
Juliette de Bertole (Juliette; or, Vice Amply Rewarded – Marquis de Sade)
Don Juan (or Don Giovanni) (The Trickster of Seville and the Stone Guest – Tirso de Molina; Dom Juan or The Feast with the Statue – Moliere; Don Giovanni – Libretto by Lorenzo da Ponte and music by Wolfgang Amadeus Mozart; Don Juan – Lord Byron; others)
Victoria de Loredani (Zofloya; or, The Moor: A Romance of the Fifteenth Century – Charlotte Dacre)
Barry Lyndon (The Luck of Barry Lyndon – William Makepeace Thackeray)
Queen Marie-Antoinette (as depicted in the French libelles)
Marquise de Merteuil (The Dangerous Liaisons – Pierre Choderlos de Laclos)
Lord Ruthven (Glenarvon – Lady Caroline Lamb, The Vampyre – Dr. John Polidori)
Becky Sharpe (Vanity Fair – William Makepeace Thackeray)
Vicomte de Valmont (The Dangerous Liaisons – Pierre Pierre Choderlos de Laclos)
Caliph Vathek (Vathek – William Beckford)
George Wickham (Pride and Prejudice – Jane Austen)

Some Libertines from Movies and Television:
Edmund Blackadder (Blackadder the Third)
Lord Byron (Gothic)
Darla (Buffy the Vampire Slayer, Angel)
Liam (Angelus) (Buffy the Vampire Slayer, Angel)
Barry Lyndon (Barry Lyndon)
Marquise Isabelle de Merteuil (Dangerous Liaisons, Valmont)
John Wilmot (The Libertine)
Lord Rochester (Plunkett & Macleane)
Vicomte de Valmont (Dangerous Liaisons,Valmont)

A Few Inspirational Songs:
Big Balls – AC/DC
Chelsea Dagger – Fratellis
Cherry Bomb – The Runaways
Chick Habit – April March (also the original Laisse Tomber les Filles by France Gall)
The Duelists – Iron Maiden
Ex’s and Oh’s – Elle King
The French Song – Joan Jett
Gold Dust Woman – Fleetwood Mac (also the cover by Hole)
Lovegame – Lady Gaga
Mother – Danzig
The Only Time – Nine Inch Nails
Sadeness – Enigma
Sex on Wheels – My Life With the Thrill Kill Kult

Gallery of Images:

William Hogarth 027


Thomas Rowlandson - A Sketch from Nature


'Interrupted Supper', by Louis-Léopold Boilly, Norton Simon Museum

Pietro Longhi The Lover of a Venetian Lady.The Bowes Museum

The Influence of the Marquis de Sade on the Gothic Novel

Sade’s “Justine” (and it’s sequel “Juliette”) were enormously popular books in their day, even (and especially) in those places where they were banned. Both works were issued in lavishly illustrated editions furtively perused by men and women alike. The Marquis’ scandalous stories of perverse (and murderous) libertines also exerted a massive influence on contemporary Gothic novels. The more shocking episodes in Lewis’ “The Monk”, for example, can be seen in light of an appetite for literary savagery that had been stoked by “Justine”. Perhaps unsurprisingly, Sade himself disliked his books being classified as “Gothics”, because he felt the label demeaned their serious philosophical content. “Justine”, for example, seems meant to expose the absurdity of 18th century literary conventions, such as the virtuous “damsel-in-distress”, and the gallant highwayman (viciously deconstructed in the person of Ironheart). Nonetheless, Sade’s influence on the Gothic genre is undeniable, especially in light of such incidents as the unjust trial of the allusively named Justine in Mary Shelly’s “Frankenstein”. Thus, despite his own protestation, Sade is inseparably part of the Gothic tradition, just as his catalogs of depravity have their modern reflections in the “slasher” and “torture-porn” movies of recent years.