The main reason I devoted time to sussing out "the two escalations" was because the earlier-conceived term bears on my also sussing out the quantitative form of "conflict-escalation" with respect to the long neglected topic of fictional sadism. To be sure, this line of thought was generated when I began thinking about how the quantitative form of "stature-escalation" depended on duration, and this led me to think about duration's influence upon a particular type of conflict-escalation.
My most concentrated observations on sadism were made in essays like POP GOES THE PSYCHOLOGY, aimed at disproving the simplistic attempts of Frederic Wertham and Gershon Legman to define all forms of fictional violence as "sadism." In the same month I also observed, in SADISM OF THE CASUAL KIND, that the majority of audience-members are not vulnerable to becoming syndromic sadists just because they get a little jazzed reading about some criminal going on a crime-spree, which was another piece of nonsense from Wertham and Legman.
But while all forms of violence are not reducible to sadism, sadism and its "opposite number" masochism (which will have to wait for later discussion) have their own respective dynamics.
Sadism, as previously related, is the ethical opposite of combat. Combat almost always involves two or more subjects in contention, where all have some ability for self-defense. Sadism depends upon one subject wielding control over the other subject and imparting physical (and sometimes emotional) violence upon the latter. I distinguish four patterns of fictional sadism. Two categories are the newly minted "prolongation" and "repetition," which are further subdivided (at the risk of inducing terminological overload) by my earlier categories of "the exothelic and the endothelic."
ENDOTHELIC PROLONGATION-- This type of scenario largely focuses upon one sadism-victim, or a group of victims, suffering prolonged acts of sadism, whether it's just one repeated scenario or an assortment of assaults. In fiction one of the most famous scenarios is that of Edgar Allan Poe's "Pit and the Pendulum," in which an unnamed prisoner must endure the agonies of the titular horrors, without his even interacting with the sadistic authors of his predicament.
ENDOTHELIC REPETITION-- Repetition, in contrast to prolongation, often depicts several independent scenarios separated by assorted time-frames. One of the most famous victims of repeated sadism appears in Sade's JUSTINE. Toward the end of the book the afflicted heroine provides a long chronicle of the many persons who have tormented her just for the hell of it, a list which apparently includes whatever God rules her world. Just a partial list:
During my childhood I meet a usurer; he seeks to induce me to commit a theft, I refuse, he becomes rich. I fall amongst a band of thieves, I escape from -hem with a man whose life I save; by way of thanks, he rapes me. I reach the property of an aristocratic debauchee who has me set upon and devoured by his dogs for not having wanted to poison his aunt. From there I go to the home of a murderous and incestuous surgeon whom I strive to spare from doing a horrible deed: the butcher brands me for a criminal; he doubtless consummates his atrocities, makes his fortune, whilst I am obliged to beg for my bread. I wish to have the sacraments made available to me, I wish fervently to implore the Supreme Being whence howbeit I receive so many ills, and the august tribunal, at which I hope to find purification in our most holy mysteries, becomes the blcody theater of my ignominy: the monster who abuses and pluncers me is elevated to his order’s highest honors and I fall back into the appalling abyss of misery.
As "endothelic" describes centric icons with whose will the reader is expected to sympathize, "exothelic" describes centric icons who ought to inspire antipathy.
EXOTHELIC PROLONGATION-- Whereas the unnamed narrator of "Pit" is the sufferer, the narrator of Poe's "The Cask of Amontilado," one Montresor, shows the slow and careful progress of Montresor's plan to trap his perceived enemy Fortunato into a death-trap; that of being confined behind a wall of bricks in a catacombs, where Fortunato will, and does, suffer a lingering demise.
EXOTHELIC REPETITION-- And, to maintain parallelism, my selection here also comes from Sade, who followed up JUSTINE with JULIETTE. The latter book takes the point of Justine's sister Juliette, who prospers despite visiting pain and death on innumerable victims, the most notable of which I discussed in this essay.
More variations to come in Part 2.
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