The Dead Sea Karpman’s Triangle

For the last stubborn illiterates among us, here is the pattern that we should all keep in mind at all times — especially since October 7^th:

1 –  An analysis of Dr Eli David’s vision

At the very top, Islam is depicted as an enormous mass of water looming above our heads which the drawing qualifies as “radical” clearly indicating that the drawing frees itself from the reproach of encompassing Islam in its entirety, even less to each and every Arab. However, the precaution is hardly convincing. Taking into account the mass of water involved, it is hard to accept that it represents solely the marginal and radicalised fraction of Islam. Ultimately, one gets the impression that the artist is actually encouraging generalisation rather than wishing to prevent it.

In the centre, a mighty concrete dam is to be seen: Israel and its 9 million inhabitants, arching against the sheer walls of the vertiginous Sinai mountains. Not that there might be so much water over there, but it doesn’t matter. One might look at it under the light of so-called ‘poetical licence’ — a suitable permanent pretence brought in every time they refer to these truths that aren’t real — as opposed to these untruths. In any case, if the body of water represents Muslims, there happens to be a billion and a half of them around Israel, starting from Morocco to Indonesia and the Philippines, via Tchetnia and Xinjiang (and there is even more of them Eastwards, on the way to Beijing).

Down below, the European great plain, where unconsciousness borders on ingratitude and where we don’t know whether or not to include those who didn’t accomplish their Aliyah, engrossed in their respective roles of Prime Minister, President of the National Assembly or President of the Constitutional Council — among many other things that would be appropriate to list here—an allusion to the political situation in France.

2 – A possible interpretation of Karpman’s triangle

The problem with this caricature is that it fires back on the artist himself by clearly pointing at Karpman’s triangle of persecution, an issue which might otherwise have gone unnoticed. Islam fills the role of the persecutor; Europe that of the victim; Israel filling the role of the saviour. Observers of this kind of triangle, as uninformed as they might be, are quick to gather that the true persecutor usually happens to be the saviour himself, a narcissistic pervert, careful to inform his victim, driven as he claims to be by sheer philanthropic reasons, that if he doesn’t comply to the persecutor’s wishes, the victim will only have himself to blame — quite an obvious scheme.

3 – Stay alert! Intents and purposes may grossly vary from what was to be expected.

What complicates the charade here — thus preventing us from spotting easily that the real persecutor is the presence of another mental scheme — a scheme that is likely to be most familiar to the parents, grandparents and ancestors of our good Dr. Eli David, according to which the sons of Israel invariably are the victims, and therefore it is inconceivable that can they fit the part of the persecutors (no matter how real or fake).

Yet, in Yves Boisset’s espionage film Espion lève-toi, in answering to Lino Ventura’s hypothetical question put to Bernard Fresson along the lines of “How would you figure out someone who, one day, would (hypothesis # 1) pose as a victim and the next day (hypothesis #2) as a saviour ?” Bernard Fresson’s brilliant reply could possibly be: “Instinctively, it would lead me to consider a third one”. The persecutor, perhaps? Sorry, but Jews find it inconceivable that they could be persecutors. But once you’ve gone around and around the victim and savior opposite poles, persecutor is the only vertex of the triangle left.

4 – A moral to remember from the film

In Yves Boisset’s 1982 film, set in Zurich, everyone dies: quite logically the persecuted victim, Ventura’s wife; the apparent persecutor, Michel Piccoli, of the KGB (as if by chance); and the ambiguous saviour, Lino Ventura. Only the clear-headed, self-reliant Bruno Cremer survives. Because the latter poses neither as a victim nor as a saviour, some will tend to label him as an henchman, but in reality he isn’t a part of a persecution triangle; he only has a problem to solve… which he merely does.

Coming back to the artist’s impression, it has one flaw: as with any dam, one would expect to find sluices down below to let the current through, so that on the Great European plain, cities like Paris, London, Düsseldorf, Stockholm, and even Moscow are already copiously irrigated by Islam: but that must be one of those real things that aren’t true, and which for that reason shouldn’t appear.

As for the Europeans, only recently have many adopted the status of persecuted people, with the obviously very much self-interested goal of boosting solidarity in favour of Israel: the classic case of a minority boosting up its particular interest, surviving in a sea of Islam, as a general interest, that of the West. The alpha and the omega of Western politics.

Freely expanded from an article by Tobias Langdon

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Complimentary bonus: “Lucie de la Mer Morte”* sung  by Nathalie Dessay, the madness aria, from Lucia di Lammermoor: Mad Scene (Natalie Dessay) (youtube.com); Translator’s note: * A questionable pun on “Lucia di Lammermoor”: “Lucy from the Dead Sea”.