H.P. Lovecraft wrote that “The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown.” Certainly a fear of the unknown is a necessary, but not a sufficient component for horror literature to be effective. The appreciation of horror must be a whole body experience, not merely an anxious, intellectual abstraction. It must be seasoned with elements that are well known, (or at least familiar), and at the same time viscerally revolting. In a memorable horror tale the ‘fear of the unknown’ must be sprinkled with a dash or two of the physically repellent, and these horror condiments are what I have been calling the Primal Yuck Factor or PYF.
Some Examples
“Upon
the bed, before that whole company, there lay a nearly liquid mass of
loathsome—of detestable putridity.” (The Facts in the Case of M .Valdemar, by
Edgar Allen Poe)
“It
writhed there on the floor like a huge, repulsive starfish, an immense, armed,
legged thing, that twisted…and presently raised its great round blob of a body
on tottering tentacles, crept toward my host and writhed upward—yes, climbed up
his legs, his body.” (Unseen—Unfeared, by Francis Stevens)
“Above
the waist it was semi-anthropomorphic; though its chest, where the dog’s rending
paws still rested watchfully, had the leathery, reticulated hide of a crocodile
or alligator.” (The Dunwich Horror, by H.P. Lovecraft)
“Whatever
it was about the man that repelled me I did not know, but the impression of a
plump white grave-worm was so intense and nauseating that I must have shown it
in my expression, for he turned his puffy face away with a movement which made
me think of a disturbed grub in a chestnut.” (The Yellow Sign, by Robert W. Chambers)
“The
open, staring eyes, with pupils immensely dilated, sent Jandron shuddering
back. A livid ring marked the forehead
that now sagged inward as if empty.” (The Thing From Outside, by George Allan
England)
Variables Affecting the Primary Yuck
Factor
I
have recently attempted to apply the concept of a PYF in earlier posts that reviewed stories by E.F. Benson and William Hope Hodgson. Perhaps there is a calculation involving
several variables, that when manipulated might generate a score useful for
purposes of comparison and prediction, as well as analysis. What are these important variables? Readers probably know them intuitively. Given a typical horror story, does it contain any of
the following types of stimuli, alone or in combination?
1. Deformities
of the ideal human or animal form, which may include mutations and
hybridizations, as well as dismemberment or disfigurement.
2. Dead,
rotting, or decaying things, and the organisms associated with them. Vultures, worms, and insects are revolting through
association with deceased items. Contact
makes one unclean and in need of purification.
3. Invertebrate
life forms, especially arthropods, annelids, and mollusks. Is any entity described in terms of an
insect, worm, slug or octopus? Any
creature with either more or less than the cardinal four limbs is inherently
repellent. There is a reason for this. The least frightening creatures we can imagine,
including even large predators like bears and tigers, are literally familiar, (in our family), because they
share our quadruped nature. In order to
make a quadruped frightening, it has to be amplified, made larger, fiercer, and
more voracious. Nevertheless, we can
still give our children teddy bears, but not—at least until fairly recently—teddy
spiders or teddy squid.
4. Limbless
creatures like snakes and eels, though vertebrates like us, violate the
ideal quadruped form and so are inherently revolting. They are a variation of deformities of the
ideal animal form.
5. Bodily
fluids and discharges are repellent because of their association with
infection, disease and death.
7. Fungus,
mold, slime—in other words, large accumulations of microscopic organisms. They represent a deformity of the ideal vegetable form. Instead of a wholesome leafy green, they take
other shapes and colors and are typically hidden from purifying sunlight.
Other Important Considerations
The
items above are types of repellent or revolting stimuli that may be found or
suggested in a horror story. There are
other variables that interact with these types to amplify or modulate their
effect:
1. The frequency
in which the stimuli occurs in the story.
2. The relative subtlety or intensity of the stimuli—is it merely suggested or graphically
described? (Score 1 if subtle, 2 if graphic.)
3. The mode
of sensory presentation. A hierarchy
among the senses is proposed here, determined by the relative proximity of the
revolting element.
Smell—the
most primitive sense, is most likely to give generalized sense of revulsion and
discomfort. (Score 1)
Hearing—auditory
stimuli create suspense and a strong feeling of the immediacy of the threat.
They can also encourage a fateful curiosity in the victim. (Score 2)
Vision—with
the horror in full view, characters experience its full force because the evidence
of the immediate threat is now complete and physically present. (Score 3)
Touch—this
is the most revoltingly horrifying because of the immediate physical contact. There is no distance left between the victim
and the source of the terror. (Score 4)
Taste—this
can barely be discussed, except to say a gustatory experience of horror implies
that it is being taken inside, which
is a mind and soul shattering experience.
(Score 5)
Of
course, the relative weight of all of these variables will vary from reader to
reader and from culture to culture—somewhat. But it seems that horror and revulsion
comprise a universal human experience, so that reactions to these various
stimuli are typically shared around the world, and only vary by degree. The PYF cannot be an absolute figure so much
as a way to compare relative
magnitudes of revulsion across scenes in a story, and to compare these values
across stories.
A Formula for Computing the
Primal Yuck Factor
Here
then is a proposed formula for computing the PYF. Essentially it is the sum of all of the types
of revolting stimuli present in the story multiplied by their frequency, mode
of sensory presentation and level of intensity.
PYF = [Ftype1(S1-5)(I1-2)
+ Ftype2(S1-5)(I1-2) + Ftype3(S1-5)(I1-2)…]
÷ [total occurrences]
…where
F is the frequency that a given stimuli type occurs, S is the sensory mode, and
I is the relative intensity of its presentation. This sum is then divided by the total number of
references in order to arrive at a measure of central tendency—an average level
of physical revulsion present in the story.
Here
is an example of applying the PYF formula to just one scene in a story.
“Three
days later Eustace, writing alone in the library at night, saw it sitting on an
open book at the other end of the room. The fingers crept over the page, as if
it were reading; but before he had time to get
up from his seat, it had taken the alarm, and was pulling itself up the
curtains.” (The Beast With Five Fingers,
by W.F. Harvey)
PYF =
1(dismemberment) x 3(vision) x 2(graphic description) = 6
Applying
this formula to the other scenes in the story, summing them up, and then dividing by the total number of occurances would produce
the overall PYF score. What remains is
to apply the PYF formula to an entire story, and this will be the subject of
the next post.
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