The depiction of flagellation in erotic novels has a long literary tradition. It reflects society’s approach to power, pain, and pleasure. Works by Leopold von Sacher-Masoch and the Marquis de Sade in particular have shaped this complex theme—in very different ways.

Flagellation in Sacher-Masoch

Sacher-Masoch’s most famous novel, Venus in Furs, paints a picture of flagellation that is strongly influenced by a longing for submission. The protagonist, Severin, longs to be dominated and punished by a woman. His devotion does not stem from self-hatred, but from a desire for complete surrender and fusion. The women in Sacher-Masoch’s novels are often cold, calculating, and at the same time projection screens for male desires. The flagellation takes place in intimate, often luxurious rooms—on a divan covered with furs or in front of a crackling fireplace. The man’s nakedness is described in minute detail: the lines of his back, the fine hairs on his skin, the visible tension in his buttocks at the moment of the expected blow.

“She threw off her fur coat, and the long, flexible whip flashed in her hand. I stood, as she commanded, naked before her, my back slightly bent. She hesitated, playing with the leather as if to make me squirm. Then the first blow fell, light at first, almost tender, a caress that brushed across my shoulder. I felt the blood boiling inside me and bent lower to receive the second, stronger blow. It burned hot on my skin, a pain that made me tremble with pleasure.”

Here, whipping is described as part of a game that is strongly based on the male fantasy of the person being punished. The woman remains a projection screen.

Flagellation in de Sade

Marquis de Sade, on the other hand, describes flagellation in a context of complete disinhibition. For him, it serves to display power and humiliate the victim. The blows are harder, the setting colder: bare cellar walls, heavy wooden benches, metal chains. While Sacher-Masoch emphasizes the consent of the person being punished, de Sade is interested in breaking all boundaries. His focus is on the pleasure of the tormentor, who experiences the pain of the other not as a means of fusion, but as an expression of his own superiority. He often describes the bodies in moments of fragility: the torn skin, the jerky twitching of the thighs, the uncontrolled trembling of the exposed genitals under the blows.

“No sooner had he torn Justine’s clothes from her body than he beat her with a rod so hard that blood ran from her loins. Her screams only aroused him more, and the blows became wilder until she sank to the floor unconscious. The sight of her bleeding skin gave him greater pleasure than any embrace.”

In de Sade’s work, the sadistic pleasure of the tormentor is at the forefront. The pain of the victim is described as a source of pleasure for the perpetrator, and the victim’s passivity is forced.

Flagellation in Pauline Réage

In The Story of O by Pauline Réage, the focus is on a woman who does not demand submission, but seeks it. O’s devotion is unconditional and not tied to conditions or contracts. She is not forced into submission, as in de Sade. However, she does not construct a scenario, as Severin does. O wants to lose herself in total submission to others. Her “surrender of self” is described with a mixture of pain, shame, and a deep sense of freedom.

In The Story of O, flagellation and other forms of physical punishment serve less to satisfy the tormentors’ lust than to bring about O’s own spiritual transformation. The pain is part of an initiation process that is supposed to lead O beyond herself. In contrast to de Sade’s cruel descriptions of orgies, there is no cynicism here. In contrast to Sacher-Masoch’s calculated staging, there is no element of control by the victim.

“He took the cane from the corner and first stroked her thighs with the tip, which he pushed apart with his hand. O trembled, but she opened herself willingly. The first blow struck her between the buttocks, and the heat spread, hotter than she had expected. She closed her eyes, let her head sink, and surrendered to the burning pain that washed through her loins like a wave.”

In Réage’s work, flagellation is part of a ritual, almost spiritual act of devotion. O is not humiliated, but fulfilled in her self-abandonment.

SM novels today: from niche phenomenon to pop culture

The literary depiction of sadomasochistic relationships has made the leap from niche to mainstream in recent decades. Whereas erotic flagellant novels such as those by Sacher-Masoch or de Sade were once only read in certain circles, today’s SM novels sell millions of copies and reach a wide audience.

SM novels with a wide reach

Probably the best-known example is the Fifty Shades of Grey trilogy by E. L. James. The books sparked a real boom in 2011, bringing the topic of BDSM to talk shows and newspaper columns and being translated into over fifty languages. Although the literary quality has often been criticized, the series introduced many readers to the terms “sub” and “dom” for the first time.

Novels such as Megan Hart’s Dirty and Anne Rice’s School of Night (written under the pseudonym A. N. Roquelaure) have also made SM elements accessible to a wider readership. These works are characterized by more intense characterization and place greater emphasis on psychological development than on graphic descriptions.

The relationship between dom and sub in contemporary SM novels

In modern SM novels, the relationship between the dominant and the submissive is often portrayed as a consensual, dynamic relationship. Although the power distribution is played out in a playful manner, it is embedded in a structure of rules, safe words, and mutual respect. The sub character is no longer portrayed as a passive victim, but as someone who enjoys voluntarily relinquishing control. This surrender is an act of self-empowerment and not an expression of weakness.

Differences from classic flagellant literature

In contrast to de Sade, who celebrated cruelty, or Sacher-Masoch, who focused on the longing for submission, modern SM novels deal with the interplay of power and trust. The focus is on consent, exploring boundaries, and shared experiences. The dominant and submissive roles are not necessarily fixed; they often change over the course of the story, or both characters discover new sides to themselves. The game thus becomes less a representation of a rigid power imbalance and more an expression of a deep connection.

Tips for young authors

When describing such a scene, don’t shy away from physical details. Readers want to know how the skin trembles under the blow, how the back arches, how the buttocks tense. The reactions of the genitals—the swelling of the labia, the glans protruding from under the foreskin, the moist glistening between the legs—can also be part of the description. It is not about evaluating the body, but about showing it as a landscape of sensation.

It is also important to make the psychological dynamics clear. Why do the characters allow themselves to be flogged? What do they hope to gain from it? Authors should also breathe with the scene: the alternation of silence and noise, the creaking of a wooden chair, the hissing of the whip through the air. This brings the scene to life without it slipping into vulgarity.

Writing Prompt

Write a scene in which two people try the ritual of flagellation for the first time. Describe how they prepare the setting together: choosing the instrument, taking off their clothes, slowly approaching each other. Be sure to describe the bodies of both characters precisely and sensually. Show how their skin reacts, what inner conflicts they are experiencing, and how they seek reassurance in each other’s eyes.