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.

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Friday, December 4, 2020

“The Mesmerist’s Victim” (post 1) by Alexandre Dumas (post 12): One of the mesmerist’s (hypnotist’s) victims is his wife


Hypnosis (mesmerism) and multiple personality are related subjects. People with multiple personality have tended to go into trances ever since their traumatic childhood. Their alternate personalities have been created as a psychological defense by using, in effect, self-hypnosis.


Since an admirable, key character in The Count of Monte Cristo is named after Abbé Faria, an actual figure in the history of hypnosis, I was interested to read The Mesmerist’s Victim to learn more about what hypnosis meant to Dumas.


The mesmerist, Joseph Balsamo—a.k.a. Baron Balsamo, Count Fenix, magician, miracle worker, wizard—is mysterious and sinister. His wife lives in his home, but in a secret annex.


“Lorenza Feliciani was his wife, but she railed at him for keeping her a prisoner, and a slave, and envied the fate of wild birds.


“Lorenza,” he softly pleaded, “why do you, my darling, show this hostility and resistance?…


“Because you horrify me—you are not religious, and you work your will by the black art!” replied the woman haughtily…


“Sleep!” he said “imperatively.”


“Scarcely was the word pronounced before Lorenza bent like a lily on its stalk” and “her whole countenance brightened up, as if the breath from Love’s own lips had dispelled the cloud” (1, pp. 43-44).


“Hence she who hated him when in her senses greeted him with a tender embrace” (1, p. 64).


In other words, her regular personality, who hated him, was put to “sleep,” allowing her alternate personality, who loved him, to come out.


1. Alexandre Dumas. The Mesmerist’s Victim [1848]. Translated by Henry Llewellyn Williams. The Echo Library, 2015. 

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