COMPENSATION, KENOSIS AND PLEROSIS, PART 2

I've never claimed to be an expert in the culture of archaic Greece, so I can only make tentative assertions based on fragmentary evidence. Within the halls of academia, there may be extensive analysis of the provenance of these terms, but the most thorough references I can find on the Net credit Hippocrates and related medical authors for using the two terms in my title-- "kenosis" and "plerosis"-- to mean "an inadequate diet" and "a more-than-adequate diet." It should surprise no one that these arcane technical terms originally connoted something having to do with the body, pertaining to whether it was too empty or too full-- both conditions that are opposed to one's diet being, as in the Goldilocks tale, "just right."

In Theodor Gaster's schema, there are two primary types of ritual action performed for both kenosis and plerosis, and each is focused on creating a distinct mood for the witnessing audience:

First the rites of mortification, symbolizing the temporary eclipse of the community. Next the rites of purgation, by which all noxious elements that might impair the community's future welfare are eliminated. Then the rites of invigoration, aimed at stimulating the growth of crops, the fecundity of humans and beasts, and the supply of needed sunshine and rainfall throughout the year. Finally, when the new lease is assured, come the rites of jubilation; there is a communal meal at which the members of the community recement their bonds of kinship by breaking bread together, and at which their gods are present.

These descriptions may or may not be adequate to describe all forms of archaic ritual activity, but they adapt well to the Fryean scheme of the four mythoi, which is my main concern here.

In Part 1 I asserted the logic of Alfred Adler's compensation theory, in which individuals might seek to compensate for various forms of conflict-- or what Hans Selye calls 'stress"-- in various ways. Some compensation strategies might prove negative in that they weakened the individual who pursued said strategies, while others would be positive, in that they made the individual stronger in some way.

I've been exploring, and will continue to explore, the ways in which fiction does or does not succeed in terms of the mythopoeic potentiality. This is a purely formal argument that does not impact directly on considerations of positive and negative compensation, though in Part 1 I stated that any such considerations would have to line up with my analysis that fiction had to be true to its greatest potential.

Because of my concept of *thematic escapism,* I've validated a lot of narratives that other critics have viewed as "fascist." I won't repeat my various arguments here, but one that I advanced in the March essay POSSE COMIC-TATUS might also be seen in terms of Adlerian compensation for the mythos of adventure. In that essay I wrote:

In my essay TORTURED, PROSAICALLY, I largely defended the trope of inquisitorial torture from the usual attacks on it, but noted two exceptions, in which the television programs 24 and HAWAII 5-O indulged in the trope purely for the sake of showing the hero in the position of doling out violence without restraint. These shows were in part bad because there was no sense that the authorities involved might face any consequences for their actions, and in part because they were, in Sadean terms, stupid and unimaginative. At least when a Mickey Spillane hero tortures someone, there's a sort of brain-fevered fascination with the act itself, and I've often thought that Spillane's ideological posturings were just an excuse to bring about retributive violence. In other words, Spillane, like Sade, esteemed violence for its own sake, not as a means for preserving the police state.

The exploits of Mike Hammer and Jack Bauer depend heavily on retributive violence, which means that they pertain to the mythos of adventure, which according to my adaptation of Gaster's four moods is primarily meant to be "invigorative" in its effect upon its audience.  But I would have to say that the Sadean air that Mickey Spillane brings to his righteous heroes is one that can "strengthen" the reader if said reader is able to read it as a wild fantasy, rather than mistaking it for a rendition of reality. In contrast, the "stupid and unimaginative" fantasy of the teleseries 24 lacks any of the qualities seen in the Spillane works. Both are "plerotic" works, in that the audience is supposed to feel invigorated by seeing evildoers defeated by the representatives of social good. But I label only Spillane as being a "good plerotic meal," while the contrasting examples are the sort of meals that will make one feel full, but in a way that weakens the body and the mind.

QUICK COMPENSATION COMPARISON

Though I've only recently chanced across a reference to the pioneering work of endocrinologist Hans Selye-- a Nobel-Prize winner credited with formulating the 20th century concept of "stress"-- even a quick Wikipedia reference points out a useful comparison with the compensation theory of Alfred Adler, first examined on this blog here.

Here's a Wikiquote I've cited before re: positive and negative compensation-- a concept I've found useful in refuting critics like Julian Darius:

Positive compensations may help one to overcome one’s difficulties. On the other hand, negative compensations do not, which results in a reinforced feeling of inferiority.
 

In 1975 Hans Selye pioneered a roughly similar "positive/negative" classification of glandular excitement states.  Again quoting from Wiki's essay on stress:

Selye published in 1975 a model dividing stress into eustress and distress.^[16] Where stress enhances function (physical or mental, such as through strength training or challenging work), it may be considered eustress. Persistent stress that is not resolved through coping or adaptation, deemed distress, may lead to anxiety or withdrawal (depression) behavior.
 

Neither psychologist Adler nor biologist Selye applied their insights to literary criticism.  On occasion lit-critics have looked at fiction through Adler's lens, though Adlerian examinations are far outnumbered by those following the lead of Sigmund Freud, the past master of explaining psychology purely through acts of "negative compensation."

While Selye's biological research in itself probably would not lend itself to the analysis of literary constructs, its central conceit-- that of "stress" having both negative and positive connotations-- proves useful to a literary hermeneutics based in notions of conflict and will, as my own is.  The notions of "eustress" and "distress" may also prove an interesting gloss on Theodor Gaster's division of the emotional tones evoked by ritualized endeavors into tones of "plerosis" or of "kenosis."