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Chapter IV explained
Durtal and Des Hermies discuss the life and crimes of Gilles de Rais, focusing on his transformation from a brave captain and patron of the arts into a sacrilegious sadist.
What happens
Durtal and Des Hermies discuss the life and crimes of Gilles de Rais, focusing on his transformation from a brave captain and patron of the arts into a sacrilegious sadist. Des Hermies asserts that Satanism persists into the modern era, linking it to corrupt clergy. Durtal outlines Gilles's biography, his role in the court of Charles VII, his ruinous extravagance, and his descent into occultism and murder.
Themes in this chapter
Satanism and Evil
Des Hermies argues that Satanism is a continuous tradition from the Middle Ages to the present, embodied by Gilles de Rais and modern corrupt clergy.
Art and the Artist
Gilles de Rais is depicted as a refined aesthete and patron of the arts, whose love of beauty coexists with his monstrous crimes.
Decadence and Fin de Siècle
Gilles de Rais is compared to Des Esseintes, embodying the decadent ideal of extreme refinement and perverse mysticism.
Religion and Blasphemy
The chapter links Satanism to sacrilegious priests and the corruption of the clergy, framing blasphemy as a mature form of evil.
Characters to notice
- Durtal
Describes his progress on the biography of Gilles de Rais, focusing on the transition from virtue to crime.
- Des Hermies
Argues for the continuity of Satanism from the Middle Ages to the present and links it to sacrilegious priests.
- Gilles de Rais
Portrayed as a complex figure: a brave captain, a patron of the arts, and later a sacrilegious sadist and murderer.
- Charles VII
Described as a weak, debauched king whose court Gilles de Rais supported financially.
- Carhaix
Mentioned as the host of a dinner the next evening.
Key passages
“Since it is difficult to be a saint, there is nothing for it but to be a Satanist. One of the two extremes.”
Des Hermies suggests that if sainthood is unattainable, Satanism is the only alternative, as both represent extreme paths.
This encapsulates the chapter's central dichotomy between virtue and diabolism.
“He was the Des Esseintes of the fifteenth century!”
Durtal compares Gilles de Rais to the decadent protagonist of Huysmans's own novel, emphasizing his refined tastes and perverse mysticism.
This allusion links Gilles de Rais to the fin-de-siècle decadent movement.
“Without sacrilegious priests there is no mature Satanism.”
Des Hermies argues that true Satanism requires clergy who deliberately profane their own religion.
This highlights the theme of blasphemy and the corruption of religious authority.