Dangerous Liaisons

“In fact, if not being able to live without possessing what one desires is to be in love, to sacrifice one’s time, one’s pleasures, one’s life, then I truly am in love.”

This passage reveals that a key motivation behind Valmont’s actions is self-discovery. He wants to find out what his capabilities are, but he also seeks to find an acceptable definition of, or demarcation between, love and sex.

“I am astonished at the pleasure one feels at doing good. And I should be tempted to believe that those whom we call virtuous do not have so much merit as we are led to believe.”

Valmont is the novel’s most ambiguous character. Most of the time he appears to be completely egotistical and can only achieve pleasure from subverting others to his will. However, there is this brief moment when an act of virtuous behavior pleases him. In typical fashion, however, he immediately rejects the idea of morality as sincerely worthwhile, joking that the “pleasure” one experiences “at doing good” means that even the seemingly “virtuous” may be more motivated by that self-aggrandizing pleasure than truly doing good for others.

“What god was she daring to call upon? Is there a god strong enough against the power of love?”

For libertines like Merteuil and Valmont, the search for “love,” which is most often equated with sexual pleasure and conquest, is paramount. Thus, Valmont’s sarcastic rhetorical question for Merteuil is used to reiterate what they hold to be self-evident: Nothing is more powerful than seduction and sexual desire.

“Human beings are not perfect in any way, no more perfectly evil than perfectly good. The wicked man has his virtues, the good man his weaknesses.”

Madame de Volanges provides Tourvel with a rebuttal to her implication that Valmont is a good person because he did a good deed. Madame de Volanges’s statement reveals the logical fallacy in Tourvel’s remark and establishes an important criterion when interpreting the actions of the novel’s characters, serving as a warning against the moral hypocrisy of French high society.

“So remember you will have sitting in judgement upon you, on the one hand, frivolous people who do not believe in a virtue they see no examples of in their society; and on the other, wicked people who pretend they do not believe in it, to punish you for having been virtuous.”

Madame de Volanges here advises Tourvel as to what she should do regarding Valmont. In this passage, she counsels her to not rely too much on his virtuous status because it will mean little to him, or even to others; and thus, it foreshadows precisely the weakness that will cause Tourvel’s downfall.

“Believe me, Madame, cold tranquility and the torpor of the soul, the very image of death, do not make for happiness. Only the active passions can lead you to it.”

Valmont and Merteuil are dedicated adherents to the precepts of libertinism, and the above passage summarizes their hedonistic pursuits, which in turn provides the foundation for Valmont’s primary motivations regarding seduction and sex— pleasure and the thrill of power. This passage also speaks to the novel’s preoccupation with Love, Lust, and Happiness and the competing ideas surrounding them.

“It seems to me that I love her more how I love Danceny than how I love you, and sometimes I wish she were him.”

There are many innuendos used throughout the novel to avoid using explicit descriptions that would have been too controversial at the time. In this passage, Cécile’s words allude to a possible sexual component in her relationship with Merteuil, or at the very least a quasi-sexual attraction (“I wish she were him”), which is confirmed by the latter’s use of innuendo in Letter 63.

“What you call happiness is but a tumult of the senses, a tempestuous sea of passions, a fearful spectacle even when it is viewed from the shore.”

Tourvel provides a rebuttal to Valmont’s argument regarding pleasure and passion, thus offering a negating perspective for his arguments about Love, Lust, and Happiness. Her dismissal of Valmont’s “happiness” as a “tumult of the senses” that creates a “fearful spectacle” sets up a contrast between Valmont’s libertine philosophy and her own Need for Morality.

“In any case it is good to accustom someone to major calamities if they are destined for life’s great adventures.”

Merteuil justifies her reasons for informing Madame de Volanges about Cécile and Danceny, claiming that it is “major calamites” that will help prepare the young lovers for the “great adventures” she is maliciously planning for them. It demonstrates the breadth of her willingness to interfere to obtain her goal, and it foreshadows the future grooming she and Valmont will undertake to convert Danceny and Cécile to libertinism.

“You hold friendship in contempt and, in your blind folly, set at naught both shame and unhappiness, seeking nothing but your own pleasure and victims to sacrifice to it.”

Tourvel’s argument here once again speaks to the dangers of Libertinism in Pre-Revolutionary French Society, which often enables men like Valmont to leave many “victims” in his wake thanks to his selfish commitment to his “own pleasure.” Tourvel’s depiction of Valmont’s seductive games ruining others foreshadows her own ruin at his hands later in the novel.

“I know one rarely wins with le sept et le va; but whatever fate awaits me, one has always lived long enough when one has had time to acquire the love of women and the esteem of men.”

Once again, in slightly different words, Valmont here reiterates his motives for his libertine lifestyle. He seeks sexual pleasure and social renown. The passage also hints at the fatal end awaiting Valmont at the novel’s close, when he will indeed have “lived long enough” but will die in disgraceful circumstances instead.

“For you men defeat is only one victory less. In this unequal contest we are lucky not to lose, and you are unlucky not to win.”

The power struggle between men and women is a recurring preoccupation in the novel, and here Merteuil describes the inequality in the realm of sexuality and social status between the two sexes in high society. A woman stands to lose far more, and more easily, than a man if she gains a reputation for sexual promiscuity. While men can afford to treat each conquest as a “victory” and move on, women risk everything every time they attempt to seduce.

“One must conquer or die.”

Merteuil and Valmont use military metaphors and similes when describing their games of seduction and manipulation, which further provides insight into their perceptions of love and sex: Love, as most understand it, does not play a role. It is all about bending others to their own wills and “conquer[ing].”

“The arranged marriages, which are not real matches but what are called mariages de convenance, where everything is mutually agreeable apart from the tastes and character of the parties involved, are they not the most fertile ground for these scandals which are becoming more and more common every day?”

Contemporary social criticism of French society during the Ancien Régime is interspersed throughout the novel. Here, the long practice of arranged marriages for political or economic reasons among the aristocracy (“marriages of convenience”) is presented as a possible cause for libertinism and marital infidelities.

“But if she still has her doubts and, persists in putting you to the test, and comes to discuss marriage with you, like the well-born girl you are, just contain your feelings and give in completely.”

Little is directly stated about the expectations of women at the time since they were well-known to the contemporary reader and did not bear elucidation, but here Merteuil counsels Cécile to do exactly what is required and expected of her, which is to place her will beneath that of her mother’s. One of Cécile’s greatest weaknesses in defending herself against Merteuil and Valmont is the lack of education she received, and the upbringing that taught her to be obsequious to those above her in social status.

“It is so easy to be moralistic when one is writing!”

This is an example of metafictional irony. Merteuil writes to Valmont and mentions how much easier she can speak of morals through letters than conversation because letters allow time for one to think, and the possibility not to allow body language to betray one’s words. Of course, this might hold true for the author as well, as the reader is aware they are reading a novel.

“Although one can say anything to one’s friend, one dare not write everything down. The secrets of love especially are so delicate that one cannot let them out just like that.”

Danceny is writing here to Merteuil and provides an example of innuendo. He is discussing sexual matters he would not want someone to overhear. Of course, this is ironic since letters can be confiscated and read by others, which is precisely the case for his letter.

“Remember that he who delays seizing the moment of grace is exposed to the possibility of its being taken away from him altogether.”

Father Anselme warns Valmont that his chances to repent and change the course of his life are nearing an end, and thus, foreshadows his ultimate demise, since his moment of grace has arrived, but he will not seize it. Valmont’s hypocritical display of pretended reform also speaks to the theme The Need for Morality.

“And you will see that I have not diverged at all from the true principles of this art, which we have often noticed is so very similar to the art of warfare.”

Valmont here reconfirms the notions he and Merteuil have regarding love, sex, and seduction. Their use of militaristic language is deliberate and reflects their psychology when dealing with others, like an army general engaging the enemy on the battlefield.

“It seems to me also that this frank and free intercourse, when based upon a long-standing relationship, is far preferable to the insipid flattery which frequently makes of love such a bland thing.”

Valmont has been chastised by Merteuil for using language too bluntly with her in his request that they become lovers once again. His response here suggests that their “long-standing relationship” merits using a “frank and free intercourse” that is more sincere than the “insipid flattery” often deployed by new lovers or would-be seducers. Valmont’s plea is ironic, since neither he nor Merteuil have ever known how to use “frank and free intercourse,” and the strong relationship he believes they share is about to crumble completely.

“Have you not yet noticed that pleasure, which is indeed the one and only reason why the two sexes come together, is nevertheless insufficient to forge a relationship between them?”

Merteuil’s use of a rhetorical question here reveals an important aspect of her personality and worldview. She argues that sex is the “only reason” men and women do anything together, but it is not strong enough to make a marriage or relationship happy. She is nihilistic in this regard, which provides insight into the motives behind her actions.

“We all know that this is the way of the world, and normal practice for all of you, from emperors to vagabonds.”

Merteuil makes this aphorism regarding men’s sexual behavior, asserting that because many men are sexual predators and seducers, then all men are. She regards this as acceptable because she claims it is ubiquitous and “the way of the world.”

“Very well, then. War!”

Merteuil’s abrupt response to Valmont’s challenge marks the novel’s climax, when Merteuil’s and Valmont’s game of seduction among themselves has finally come to its breaking point. Both have had enough of one another’s manipulation and jealousies; they no longer work with one another but seek to destroy one another. Merteuil’s declaration of “War!” once again invokes the motif of militaristic language used throughout the novel (see: Symbols & Motifs).