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Books Quote by Roland Barthes

“Werther identifies himself with the madman, with the footman. As a reader, I can identify myself with Werther. Historically, thousands of subjects have done so, suffering, killing themselves, dressing, perfuming themselves, writing as if they were Werther (songs, poems, candy boxes, belt buckles…” quote by Roland Barthes
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““Werther identifies himself with the madman, with the footman. As a reader, I can identify myself with Werther. Historically, thousands of subjects have done so, suffering, killing themselves, dressing, perfuming themselves, writing as if they were Werther (songs, poems, candy boxes, belt buckles, fans, colognes a' la Werther). A long chain of equivalences links all the lovers in the world. In the theory of literature, "projection" (of the reader into the character) no longer has any currency: yet it is the appropriate tonality of imaginative readings: reading a love story, it is scarcely adequate to say I project myself; I cling to the image of the lover, shut up with his image in the very enclosure of the book (everyone knows that such stories are read in a state of secession, of retirement, of voluptuous absence: in the toilet).””

Roland Barthes

About This Quote

The passage argues that readers don't merely project onto characters; they merge with them, forming a chain of identification that transcends simple empathy, especially in romantic literature.

In simple terms: Readers fuse with characters, creating shared identities.

Key Takeaway

Identification is a collective, immersive process.

Themes

identification reader-response literary theory subjectivity emotional immersion

Mood

introspective analytical

Type

theoretical critical

When to use this quote

  • private reading
  • personal reflection
  • creative expression

Key Concepts

projection imaginative reading cultural replication

Practical Applications

  • critical literary analysis

Questions to Reflect On

  • How does this view of identification change our understanding of authorial intent?
  • What implications does this have for interpreting modern romance media?
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