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.

MPD Textbooks: — Frank W. Putnam, MD. Diagnosis and Treatment of Multiple Personality Disorder (MPD) (a.k.a. Dissociative Identity Disorder (DID), New York, The Guilford Press, 1989. —James G. Friesen, PhD. Uncovering the Mystery of MPD, (includes discussion of demonic possession) Eugene, Oregon, Wipf and Stock Publishers,1997.

Monday, January 4, 2021

“Tom Jones” by Henry Fielding (post 8): Multiple narrators conclude


“Thus, reader, we have at length brought our history to a conclusion, in which, to our great pleasure, though contrary, perhaps, to thy expectation, Mr Jones appears to be the happiest of all humankind: for what happiness this world affords equal to the possession of such a woman as Sofia, I sincerely own I have never yet discovered” (1, p. 868).


At the beginning of the passage, “we” and “our” initially prompt me to think that the narration is using the plural to promote a feeling of solidarity with the reader.


But since, immediately following, “contrary…to thy” promotes distance from the reader, I change my initial opinion to an inference that the narration had merely begun with plural self-reference.


And then the paragraph concludes with “I,” which is singular self-reference.


Thus, the above passage repeats what I have noted previously: the narration is inconsistent in its self-reference, as though there were at least two narrator personalities, one with a plural, and the other with a singular, self-image.


Another way of looking at the above paragraph is that a single narrator is trying to have it both ways: promoting solidarity with the reader, but seeing himself as only one person. That’s probably the majority view. But the other things I noted in my previous posts make me prefer my interpretation, or at least think it’s worth considering.


1. Henry Fielding. [The History of] Tom Jones [A Foundling] [1749]. Edited by John Bender and Simon Stern. Oxford, Oxford University Press, 2008.

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.