(2) Formal and structural simplicity? Pornography of the enlightenment era also serves to tackle another misconception. It has been argued that, because the main aim of pornographers is to sexually arouse the audience, they are forced to include as many sexually explicit scenes as possible, leaving precious little room for plot development or formal intricacies (Steiner 1975). The pornographer “concocts no better than a crude excuse for a beginning; and once having begun, it goes on and on and ends nowhere” (Sontag 1994: 39). Pornography, as Adorno already noted, lacks the beginning-middle-end form characteristic of literature (Sontag 1994: 39). Yet, again, this gives us far from a waterproof criterion for distinguishing erotic literature from pornography. For instance, the structural complexity of the pornographic novel, Histoire de Dom B… Portier des Chartreux (1741), with its embedded stories and variety of narrators, has often been noted by scholars (Frappier-Mazur 1996: 211). The careful composition of Thérèse, where the author has arranged the parts to maximize the refraction, so that wherever the reader turns he seems to see throbbing sexuality, provides another counterexample (Darnton 1995).