The Formation Of Identity Essay Research Paper

The Formation Of Identity Essay, Research Paper

The Formation of Identity

Our own bodies can move without the will conducting them (Descartes 73). This philosophy is based upon the idea that the body is simply a machine used by its agent, the soul. Therefore, not only would the body be able to operate without the soul, as Rene Descartes suggests, assuming that will is enveloped in the idea of the soul, but the soul would also be able to survive outside the body, interchanging bodies and outside forms but still able to continue to exist or function in spite of losing its original (or perhaps just long term) agency. The narrator in The Mask certainly uses this idea in the formation of her identity. At first she barely even recognizes any connection between her body and her identity (or what she views as her identity). Then, as the two blend, she divides them again, morphing into a machine, much like the metaphor Descartes employs. The separation of the body and soul not only allows her body to function without her identity conducting it but also allows her identity to remove itself from its original body to that of a machine.

The narrator s identity in The Mask is shown as a separate entity from that of her body, and therefore her identity does not exist as a result of or even in connection with her body, rather it is formed by her thoughts, memories and destiny. From the beginning, it is evident that her identity does not depend upon her body. She existed in the beginning (Lem 67), experiencing the darkness and cold flame (67) even before she experiences any physical knowledge of her body. As each new sensation is discovered, from physical feeling to actually knowing her gender, she is able to comprehend more and conceive of more ideas, yet she was still in complete ignorance about [herself] (69), referring to her body. She is able to know of her feelings and reactions during this time of discovery which therefore lead one to the idea that she has some sort of consciousness during that time and that this must be her identity or soul because her body, as yet, played no part. It is apparent that, from the beginning, her identity has no connection to her body.

Although it seems as though the narrator s identity melds with her body, it is clear that her thoughts and true inner emotions are in actuality completely divided from her body. Her body would move and operate without the narrator actually controlling it. In fact, as her body moved, she does not even know where she is going but simply that it is continuing on (68). Her body moves through the motions of walking through the hall and curtsying, all the while the narrator s identity wondering how [she] knew this so well and with such certainty (69). She has no knowledge of her body s experiences beyond that which had rushed into [her] at the entrance of the hall (70). Simply, her identity has nothing to do with what her body is doing. It is very possible for her identity to control its body (because that occurs later in the story) and react to the body as well. For instance, in coming into contact with the gentleman, the narrator blushes. She had nothing whatever to do with that blush, it came from the same source as the knowledge that had entered [her] at the threshold of the hall (72). This blush, a natural reaction, had come from the same source as her body s intuitions, being the body itself. It is apparent that she had no control over her reactions, and in comparing this to her knowledge, it is also apparent that her body had a life of its own. It moves in the ways it needs and it reacts intuitively without the soul/identity interfering.

The narrator s separation of her identity from its body follows the thoughts of Descartes. Descartes philosophy of the body is that it is like a machine, and because a machine has no soul, the body needs no soul to operate. He states our own bodies can move without the will conducting them (Descartes 73) like machines which the industry of man can devise (73). If a machine can run effectively, having all of the correct parts to perform basic functions, then the body, being simply comprised of organs and a network of veins and arteries, should be able to also function on its own. The difference between a machine and the human body is that machines could never use words or other signs, composing them as we do to declare our thoughts to others (74). Secondly, machines do not act through knowledge (74). In other words, machines are neither able to conceive of nor express thoughts or ideas. Humans can and Descartes suggests that this is because we have a spirit; an identity.

The narrator in The Mask is able to both conceive of and express ideas, despite her mechanical change and appearance. This both agrees with and challenges Descartes philosophy. The narrator still feels a detachment from her body as she is morphing into another body. She sets up the entire operation though still views the situation almost in third person, seeing the actions of her body and thinking of them as very separate from her true identity. She looks into the mirror and sees her body as if [it] intended to knife [itself], a scene dramatically perfect (Lem 212). She sees her life as one views a play, a scene played out by actors, portraying a character though not actually that character on the inside, their true identity hidden and different from the part that they are playing.