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We are already so familiar with the ﬁrst two operations that we need not take them up again here. But what about the other two? The Overthrow of the Lyric Body 33 Variation. In general, the exposition of a program indicates the sequence of the variations that different bodies will be responsible for carrying out. In the course of executing its program, however, the groupbody system, like an actual cybernetic machine, can modify or enrich the program so as to adjust it to any new members or to the fantasies that may occur to one or another of the libertines.
For the libertine, the other is primarily a system made of organs to be plugged in to his own system. What the libertine considers most important in the other’s body will be those organs most likely to guarantee the best connection between the two systems. First the individual pieces will be assessed and described, and then a plan will be established for their operation. The language spoken here is the language of a technology of sexual pleasure; from this perspective, we can interpret “programs” like the one that follows (among many others): Listen to me: Juliette is going to stretch out upon the couch, and you shall each in your turn savor with her the pleasure of your individual choosing.
We can stand the irruption of outside into inside without running the immediate risk of taking it as a sign of madness (taking it, that is, as the manifestation of an incommunicable, strictly individual code). Things were not so simple for Sade. He had to work within the theoretical domain of the classical subject: the subject of the cogito, and the subject of law. Its rational consistency and its knowledge of itself as spiri- 42 The Overthrow of the Lyric Body tual substance were directly structured on its juridical and social status, and they deﬁned the threshold of normality, beyond which only animality or madness was possible.
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