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The social Other's expectations for a role of a waiter, though helpful for our discussion, are limiting for furthering the complexities of the relationship between doing and being. After all, the one who plays at being a garçon, a butler, or grocer do so for an understandably extrinsic motive: the better the role is played, the more probable it is to collect a commercial profit. We are cognitively aware, if not suspicious, that there is probably more to the identity of a waiter than just being a waiter. To extend our thinking of more complex instances of dramatized identification, what if we had a black waiter? Or, perhaps to cite a less arbitrary and more recognizable identity, we might turn to a role from Shakespeare.
Othello, the [link widoczny dla zalogowanych] Moor, is recognized as a foreigner to the Venetians, even though he has associated among them for some [link widoczny dla zalogowanych] time. Because of his proven capacities as a [link widoczny dla zalogowanych] sea captain, Othello is ascribed as worthy and finds a script of assimilating among the noble-class Christians available to him. Yet, to complicate his instance of identity further, Othello is visibly, physically black in complexion. While observing this tragedy, the keen audiences in Shakespeare's time would be apt to notice the conventions that are attached to a character who is physically conceived as dark-skinned. When news of the secret marriage between Othello and the fair Desdemona reach her family, a Venetian relative assumes a grotesque entrapment of her by him, that a maiden once shown to be reluctant to marriage could not love a black thing such as he: "...Run from her guardage [link widoczny dla zalogowanych] to the sooty bosom/Of a thing such [link widoczny dla zalogowanych] as thou--to fear, not to delight.", (1.2.63-82). Othello, though an able sea captain, an amiable and worthy follower of the Christian faith, cannot help but to find himself vulnerable to the negative ascriptions which society carry of his dark kind. Only his closer friends and fatally faithful wife encourage Othello as others to disprove the societal convention, for Othello is not monstrous and barbaric, but rather peace-seeking: "Are we turned Turks, and to ourselves do that/Which heaven hath forbid the Ottomites? For Christian shame, put by this barbarous brawl." (2.3.152-155). When jealousy maddens Othello to the point of murdering his blameless wife, Othello acts as a "rude" and "dull Moor" is expected to behave, the very negative scripts ascribed to him based solely upon visual conception. Such identities which become ascribed to him following his committed murder overshadow the commendable, civil ascriptions for which he was distinctively commended for when first assimilating to.
Desdemona's fairer world. Because Othello is cognitively identified as "black", "dark", and "dull", by the white, light, and fair members of society of which he is a part, by strangling his beautiful, high-class, white wife, he affirms the conventional labels given him and becomes associated with other Moors, other blacks. Othello's experience of being almost guilty by association, intensely dramatizes a social conception of one's identity in our current time frame: ""What joins me to other blacks...and other blacks to one another, is not a set of shared physical characteristics, for there is none that all black share. Rather, it is the shared experience of being visually or cognitively identified as black."" (Piper, qtd. by Michaels, 32).
Michaels offers us a definitive quote from artist and philosopher Adrian Piper, which implicitly denies a unifying physical account for a black identity, and thus, enables us to think about non-physical identity. The understated point in Piper's definition is that action is not accounted for by mere [link widoczny dla zalogowanych] physical appearance. It seems Michaels appropriately concludes his chapter on "The Trouble with Race", with the action in identification in mind: "The dramas of assimilation--the demand that we be loyal to our heritage, the fear that we will fall away from it--depend precisely upon it not being biological" (Michaels 45). How does one affirm a script that is not necessarily given to them as a socially conceived label? [link widoczny dla zalogowanych] This question of invisible identity arises in much literature, but for our discussion, will be observed in another work from Shakespeare:
JULIET 'Tis but thy name that is my enemy. Thou art thyself, though not a Montague. What's Montague? It is nor hand, nor foot, Nor arm, nor face, nor any other part Belonging to a man. O, be some other name! What's in a name? That which we call a rose By any other word would smell as sweet. So, Romeo would, were he not Romeo called, Retain that dear perfection which he owes Without that title.
Here Juliet famously deplores the relationship of a name to its ascribed object. Though her concern may not be philosophical, her question is relevant to our thoughts on identity. In fact, Juliet is astute to dissect her problem with being with Romeo is not of class (both are the only children to noble Verona families), nor of physically discernible restrictions (both are white). Rather, because they are members of rival families, their surnames are the obstacle to an otherwise perfect match. As the story goes, it is rather difficult to [link widoczny dla zalogowanych] remain in Verona and pursue their love for one another, for almost everyone in Verona can identify them as "Montague" or "Capulet". Though the tragedy does not realize the possibility to abandon their names and live far away from Verona, both Romeo and Juliet attempt to deny the scripts given by their names, and choose bohemian roles for the sake of love.
If we move away from Shakespearean examples of identification, which grant us solemn instances of unfortunate ascriptions and (un)affirmed roles, we may find that Fitzgerald offers an account of invisible identity closer to our time. As the narrator, Nick, reveals the mystery behind Gatsby's past, we discover the player who ascribes a script to himself: "So he invented just the sort of Jay Gatsby that a seventeen-year-old boy would be likely to invent, and to this conception he was faithful to the end" (Fitzgerald 9 Cool

. James Gatz, or Jay Gatsby, is an interesting character experiencing identification, for he is acutely self-conscious of his two names, his two scripts. Since Gatsby chooses to affirm his invented role in West Egg (the rich, "Oxford man", veteran who [link widoczny dla zalogowanych] is well-connected among top entertainment stars) the other script he was given at birth becomes a mere remote fact of his past: "He was left with his singularly appropriate education; the vague contour of Jay Gatsby had filled out to the substantiality of a man" (Fitzgerald 101).
To illustrate how Gatsby's [link widoczny dla zalogowanych] process of self-ascribed identification functions, perhaps it would be useful to return to Sartre and his explanation of a Jewish identity: "..the person that Sartre calls the authentic Jew... accept[s] the identity his situation confers [link widoczny dla zalogowanych] upon him; he seeks to "live it to the full." The authentic Jew "asserts his claim as a Jew." (Michaels 32). Though Gatsby associates with the presumably Jewish Meyer Wolfsheim, Gatsby is not overtly conceived as such, and is able to mingle with a presumably Nordic Tom Buchanan. Perhaps, as Michaels claims, Gatsby is not "quite white enough" to assimilate himself into a higher socioeconomic class (2-3), but Fitzgerald's story seems to show us the possibility of playing such an invisible role successfully, until Gatsby himself risks detection as "Mr. Nobody from Nowhere" (Fitzgerald 130).
At the end of the Jay Gatsby account, we discover his other script still remains part of his whole being. Mr. Gatz, Sr. appears after the death of his son, the only family present at the end of his life. Yet, despite meeting Mr. Gatz and knowing the relative truth of Gatsby's identity, Nick still refers to him as Gatsby, and the funeral train consists of no other blood ties, only the mansion servants who knew Jay Gatsby, not James Gatz. The one who seems most profoundly impacted by the death of Gatsby is the narrator, Nick. Throughout his friendship and fascination with Gatsby, Nick seems most devoted to understanding the totality of Gatsby's identity, not for its suspicious script or invented role, but for his life-long project of identification.
The facts of a past are not connected to our actions which manifest our being in the present: "For Sartre, the self is...a totality....The "original project" manifests [link widoczny dla zalogowanych] itself in every act, big or small. But the original project is not equated with some event, decision, or fantasy in the past...; rather, it is recreated at each moment through the choices we make and the actions we perform" (Palmer 107). Our scripts differ concordantly with the labels our society ascribes to us, yet as we may observe from the dramas of literature, our actions affirm the definitive truth of our identities, whichever we choose to play.
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