When the Mask Becomes the Self: Identity and Impersonation in Fiction
If everyone believes you are someone else, at what point does it stop being a disguise? Stories built around impersonation often begin with a practical problem. A king is missing. A fortune must be accessed. A plan requires someone to take another person’s place, convincingly and quickly. The premise is simple: resemble the original closely enough, learn the necessary details, and maintain the performance. At first, identity in these stories appears surprisingly fragile. It depends less on who someone is than on whether others accept the role they are playing. But the longer the performance lasts, the more complicated that assumption becomes. What begins as something external—something worn like a costume—has a tendency to move inward. The role reshapes the person performing it. Becoming the Other Person In its most classical form, the impersonation story is almost clean in its logic. In The Prisoner of Zenda , an Englishman is persuaded to impersonate a kidnapped king. The success ...