BASIC CONCEPTS

— When novelists claim they do not invent it, but hear voices and find stories in their head, they are neither joking nor crazy.

— When characters, narrators, or muses have minds of their own and occasionally take over, they are alternate personalities.

— Alternate personalities and memory gaps, but no significant distress or dysfunction, is a normal version of multiple personality.

— normal Multiple Personality Trait (MPT) (core of Multiple Identity Literary Theory), not clinical Multiple Personality Disorder (MPD)

— The normal version of multiple personality is an asset in fiction writing when some alternate personalities are storytellers.

— Multiple personality originates when imaginative children with normal brains have unassuaged trauma as victim or witness.

— Psychiatrists, whose standard mental status exam fails to ask about memory gaps, think they never see multiple personality.

— They need the clue of memory gaps, because alternate personalities don’t acknowledge their presence until their cover is blown.

— In novels, most multiple personality, per se, is unnoticed, unintentional, and reflects the author’s view of ordinary psychology.

— Multiple personality means one person who has more than one identity and memory bank, not psychosis or possession.

— Euphemisms for alternate personalities include parts, pseudonyms, alter egos, doubles, double consciousness, voice or voices.

— Multiple personality trait: 90% of fiction writers; possibly 30% of public.

— Each time you visit, search "name index" or "subject index," choose another name or subject, and search it.

— If you read only recent posts, you miss most of what this site has to offer.

— Share site with friends.

Saturday, November 28, 2020

Alexandre Dumas’ “The Count of Monte Cristo” (post 9): Monte Cristo switches personality when addressed as “Edmond” (Dantès)


For seven hundred pages, until page 980 (in this 1243-page novel), Monte Cristo’s real name, “Edmond Dantès,” is not mentioned by anyone, including the character, himself, in his own thoughts, and the narrator.


But now, Mercédès, the woman he had loved when he was known as Edmond Dantès, recognizes him. And she repeatedly addresses him as “Edmond,” which causes a major change in his attitude: from Monte Cristo’s single-minded revenge to Edmond Dantès’ sentimentality.


Monte Cristo had previously recognized Mercédès, but his personality did not change until she called him “Edmond.”


“What!” he thought…“What! The structure that was so long in building, which demanded so much anxious toil, has been demolished at a single blow, a single word…this ‘I’ that I thought was something; this ‘I,’ of which I was so proud; this ‘I’ that I…managed to make so great, will be…a speck of dust!” (1, p. 987).


He tends to attribute the sudden change in his attitude to the reawakening of his heart by his former beloved, which, of course, is part of the truth. But the novel’s sudden, striking change in naming him—from not mentioning his true name for seven hundred pages to suddenly bombarding him with it—seems to be the main cause of his switch in personality.


After Mercédès goes away, he reverts to his Monte Cristo personality. And the narrator, as usual, portrays him as thinking of himself as Monte Cristo, not as Edmond Dantes pretending to be Monte Cristo, which suggests multiple personality.


1. Alexandre Dumas. The Count of Monte Cristo [1845]. Translated by Robin Buss. London, Penguin Books, 1996. 

No comments:

Post a Comment

Thank you for taking the time to comment (whether you agree or disagree) and ask questions (simple or expert). I appreciate your contribution.