ABSTRACT
This chapter shows how doubling is performed in the service of the plot, even though complementarity, or other principles, might suggest that more doubles exist in the story. In contrast to the manifest double, there are no longer any ties between a double and the body or blood of the protagonist with the latent double. However, where critics of psychoanalysis can give other reasons for the creation or use of the manifest double, it is difficult to see how they could claim that every author had intended to use latent doublings in their narratives. The latent double of the protagonist follows this version of narcissistic object-choice, as long as long as one recognizes that the ego drives take objects as well. Rogers has many solid intuitions, and made the greatest advancements in the second school of double scholarship, but lacks a psychoanalytic model of personality that is sophisticated enough to formalize them.
