Summary
"Marat/Sade" is a play composed of two acts, segmented into thirty-three distinct scenes. The narrative unfolds at the Charenton asylum, weaving a dramatic tapestry that encompasses both a play and a play-within-a-play. The central story revolves around the assassination of Jean-Paul Marat by Charlotte Corday, set against the backdrop of post-revolutionary France, and is performed by the institution's inmates under the watchful eye of the Marquis de Sade.
Setting the Stage
The play opens at the Charenton clinic, where the Marquis de Sade signals for the performance to commence. Monsieur Coulmier, accompanied by his family, addresses the assembled audience, explaining that Sade has composed a historical play depicting the infamous murder of Marat on July 13, 1793. This performance serves a dual purpose: it is both a source of entertainment for visitors and a therapeutic exercise for the patients. The play occurs on July 13, 1808, marking the fifteenth anniversary of Marat's assassination. The Herald introduces the key players, acknowledging their lack of theatrical prowess. Inmates take on the roles, with Sade portraying himself, a paranoiac playing Marat, confined to a warm bath due to a skin ailment, and a narcoleptic and melancholic woman portraying Charlotte Corday.
The Play-Within-the-Play Begins
The internal play kicks off with "Homage to Marat," performed by four balladeers—Kokol, Polpoch, Cucurucu, and Rossignol—who embody the sentiments and grievances of the common people. To them, Marat is the sole revolutionary figure, and they seek reassurance that he will never abandon their cause. When Roux amplifies their demands for bread and freedom, Coulmier intervenes, insisting that Sade adhere strictly to the approved script to avoid unsettling the patients.
Introducing Charlotte Corday
The narrative introduces Charlotte Corday, both as a character and a historical figure. She perceives Marat as the malevolent force behind France's turmoil and gains access to him under false pretenses, promising to betray the Girondists in her hometown of Caen. Marat, meanwhile, is busy drafting his rallying cry for the upcoming "fourteenth of July." Corday witnesses the grim spectacle of crowds dancing towards their doom at the guillotine, with Marat narrating a pantomime depicting a history replete with executions.
The Philosophical Debate
A philosophical exchange ensues between Sade and Marat, pondering the nature of life and death. Sade, observing nature's indifference, equates death to mere survival of the fittest, devoid of human empathy. Marat, conversely, argues that it is imperative to act against injustice, particularly those sanctioned by the Church and state. Coulmier objects to this portrayal, prompting the Herald's biting remark that such views merely provide historical context. Sade conveys his skepticism about humanity's capacity for self-improvement through revolution, while Marat insists on realizing the ideals enshrined in the "Declaration of the Rights of Man." The masses clamor for immediate revolutionary action.
Corday's Conviction
Corday remains committed to her mission, yet in her somnambulistic state, she likens Marat to Napoleon. Duperret tries to deter her, convinced that Marat's revolution will soon collapse, restoring freedom. Sade has grown disillusioned with revolutionary idealism, while Marat's belief in it is unwavering, vigorously supported by Roux and the masses, who chant, "We want our rights and we don’t care how/ We want our Revolution now."
Disillusionment and Warning
Despite Corday and Duperret's hope for the liberty promised by the revolution, Marat delivers a somber warning, exposing these beliefs as deceptions. Sade cynically suggests they are motivated by the prospect of personal gain from the revolution. Corday's subsequent visit to Marat, where she laments, "I am unhappy/ and therefore have a right to his aid," reinforces Sade’s view.
The Mockery of Marat
As the first act concludes, Marat's life is...
(This entire section contains 800 words.)
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subjected to mockery by characters symbolizing various facets of his life, including his youth, scientific endeavors, military service, the Church, the bourgeoisie, and even figures like Voltaire and Lavoisier. Roux defends Marat, asserting that only he recognizes the necessity for profound societal change.
The Imaginary Speech
In the second act, Marat delivers an imaginary speech to the National Assembly, urging the continuation of the revolution in alignment with his vision. Sade, with disdain, mocks Marat's idealism, suggesting he abandon his efforts as futile.
The Final Confrontation
Corday, envisioning herself as a savior of a corrupt world, approaches Marat once more with the intent to assassinate him. Sade makes a last-ditch effort to persuade Marat to relinquish his revolutionary aspirations, claiming the masses will only fight if they foresee direct, personal benefits. The chorus now proclaims, "And what’s the point of a revolution/ without general copulation." The murder attempt is momentarily interrupted by a musical recount of the revolution's political milestones from Marat's 1793 assassination to 1808. In the epilogue, Coulmier and the masses praise their era under Napoleon's rule as emperor, but Roux delivers the final admonition, "When will you learn to see/ When will you learn to take sides."