The Prodigy as Narcissistic Injury
The prodigy - the precocious "genius" - feels entitled to special treatment. Yet, he rarely gets it. This frustrates him and renders him even more aggressive, driven, and overachieving than he is by nature.
As Horney pointed out, the child-prodigy is dehumanised and instrumentalised. His parents love him not for what he really is - but for what they wish and imagine him to be: the fulfilment of their dreams and frustrated wishes. The child becomes the vessel of his parents' discontented lives, a tool, the magic brush with which they can transform their failures into successes, their humiliation into victory, their frustrations into happiness.
The child is taught to ignore reality and to occupy the parental fantastic space. Such an unfortunate child feels omnipotent and omniscient, perfect and brilliant, worthy of adoration and entitled to special treatment. The faculties that are honed by constantly brushing against bruising reality - empathy, compassion, a realistic assessment of one's abilities and limitations, realistic expectations of oneself and of others, personal boundaries, team work, social skills, perseverance and goal-orientation, not to mention the ability to postpone gratification and to work hard to achieve it - are all lacking or missing altogether.
The child turned adult sees no reason to invest in his skills and education, convinced that his inherent genius should suffice. He feels entitled for merely being, rather than for actually doing (rather as the nobility in days gone by felt entitled not by virtue of its merit but as the inevitable, foreordained outcome of its birth right). In other words, he is not meritocratic - but aristocratic. In short: a narcissist is born.
Not all precocious prodigies end up under-accomplished and petulant. Many of them go on to attain great stature in their communities and great standing in their professions. But, even then, the gap between the kind of treatment they believe that they deserve and the one they are getting is unbridgeable.
This is because narcissistic prodigies often misjudge the extent and importance of their accomplishments and, as a result, erroneously consider themselves to be indispensable and worthy of special rights, perks, and privileges. When they find out otherwise, they are devastated and furious.
Moreover, people are envious of the prodigy. The genius serves as a constant reminder to others of their mediocrity, lack of creativity, and mundane existence. Naturally, they try to "bring him down to their level" and "cut him down to size". The gifted person's haughtiness and high-handedness only exacerbate his strained relationships.
In a way, merely by existing, the prodigy inflicts constant and repeated narcissistic injuries on the less endowed and the pedestrian. This creates a vicious cycle. People try to hurt and harm the overweening and arrogant genius and he becomes defensive, aggressive, and aloof. This renders him even more obnoxious than before and others resent him more deeply and more thoroughly. Hurt and wounded, he retreats into fantasies of grandeur and revenge. And the cycle re-commences.
Mistreating Celebrities - An Interview
Granted to Superinteressante Magazine in Brazil March 2005
Q. Fame and TV shows about celebrities usually have a huge audience. This is understandable: people like to see other successful people. But why people like to see celebrities being humiliated?
A. As far as their fans are concerned, celebrities fulfil two emotional functions: they provide a mythical narrative (a story that the fan can follow and identify with) and they function as blank screens onto which the fans project their dreams, hopes, fears, plans, values, and desires (wish fulfilment). The slightest deviation from these prescribed roles provokes enormous rage and makes us want to punish (humiliate) the "deviant" celebrities.
Q. But why?
A. When the human foibles, vulnerabilities, and frailties of a celebrity are revealed, the fan feels humiliated, "cheated", hopeless, and "empty". To reassert his self-worth, the fan must establish his or her moral superiority over the erring and "sinful" celebrity. The fan must "teach the celebrity a lesson" and show the celebrity "who's boss". It is a primitive defence mechanism - narcissistic grandiosity. It puts the fan on equal footing with the exposed and "naked" celebrity.
Q. This taste for watching a person being humiliated has something to do with the attraction to catastrophes and tragedies?
A. There is always a sadistic pleasure and a morbid fascination in vicarious suffering. Being spared the pains and tribulations others go through makes the observer feel "chosen", secure, and virtuous. The higher celebrities rise, the harder they fall. There is something gratifying in hubris defied and punished.
Q. Do you believe the audience put themselves in the place of the reporter (when he asks something embarrassing to a celebrity) and become in some way revenged?
A. The reporter "represents" the "bloodthirsty" public. Belittling celebrities or watching their comeuppance is the modern equivalent of the gladiator rink. Gossip used to fulfil the same function and now the mass media broadcast live the slaughtering of fallen gods. There is no question of revenge here - just Schadenfreude, the guilty joy of witnessing your superiors penalised and "cut down to size".
Q. In your country, who are the celebrities people love to hate?
A. Israelis like to watch politicians and wealthy businessmen reduced, demeaned, and slighted. In Macedonia, where I live, all famous people, regardless of their vocation, are subject to intense, proactive, and destructive envy. This love-hate relationship with their idols, this ambivalence, is attributed by psychodynamic theories of personal development to the child's emotions towards his parents. Indeed, we transfer and displace many negative emotions we harbour onto celebrities.
Q. I would never dare asking some questions the reporters from Panico ask the celebrities. What are the characteristics of people like these reporters?
A. Sadistic, ambitious, narcissistic, lacking empathy, self-righteous, pathologically and destructively envious, with a fluctuating sense of self-worth (possibly an inferiority complex).
Q. Do you believe the actors and reporters want themselves to be as famous as the celebrities they tease? Because I think this is almost happening...
A. The line is very thin. Newsmakers and newsmen and women are celebrities merely because they are public figures and regardless of their true accomplishments. A celebrity is famous for being famous. Of course, such journalists will likely to fall prey to up and coming colleagues in an endless and self-perpetuating food chain...
Q. I think that the fan-celebrity relationship gratifies both sides. What are the advantages the fans get and what are the advantages the celebrities get?
A. There is an implicit contract between a celebrity and his fans. The celebrity is obliged to "act the part", to fulfil the expectations of his admirers, not to deviate from the roles that they impose and he or she accepts. In return the fans shower the celebrity with adulation. They idolise him or her and make him or her feel omnipotent, immortal, "larger than life", omniscient, superior, and sui generis (unique).
Q. What are the fans getting for their trouble?
A. Above all, the ability to vicariously share the celebrity's fabulous (and, usually, partly confabulated) existence. The celebrity becomes their "representative" in fantasyland, their extension and proxy, the reification and embodiment of their deepest desires and most secret and guilty dreams. Many celebrities are also role models or father/mother figures. Celebrities are proof that there is more to life than drab and routine. That beautiful - nay, perfect - people do exist and that they do lead charmed lives. There's hope yet - this is the celebrity's message to his fans.
The celebrity's inevitable downfall and corruption is the modern-day equivalent of the medieval morality play. This trajectory - from rags to riches and fame and back to rags or worse - proves that order and justice do prevail, that hubris invariably gets punished, and that the celebrity is no better, neither is he superior, to his fans.
Q. Why are celebrities narcissists? How is this disorder born?
A. No one knows if pathological narcissism is the outcome of inherited traits, the sad result of abusive and traumatising upbringing, or the confluence of both. Often, in the same family, with the same set of parents and an identical emotional environment - some siblings grow to be malignant narcissists, while others are perfectly "normal". Surely, this indicates a genetic predisposition of some people to develop narcissism.
It would seem reasonable to assume - though, at this stage, there is not a shred of proof - that the narcissist is born with a propensity to develop narcissistic defences. These are triggered by abuse or trauma during the formative years in infancy or during early adolescence. By "abuse" I am referring to a spectrum of behaviours which objectify the child and treat it as an extension of the caregiver (parent) or as a mere instrument of gratification. Dotting and smothering are as abusive as beating and starving. And abuse can be dished out by peers as well as by parents, or by adult role models.
Not all celebrities are narcissists. Still, some of them surely are.
We all search for positive cues from people around us. These cues reinforce in us certain behaviour patterns. There is nothing special in the fact that the narcissist-celebrity does the same. However there are two major differences between the narcissistic and the normal personality.
The first is quantitative. The normal person is likely to welcome a moderate amount of attention - verbal and non-verbal - in the form of affirmation, approval, or admiration. Too much attention, though, is perceived as onerous and is avoided. Destructive and negative criticism is avoided altogether.
The narcissist, in contrast, is the mental equivalent of an alcoholic. He is insatiable. He directs his whole behaviour, in fact his life, to obtain these pleasurable titbits of attention. He embeds them in a coherent, completely biased, picture of himself. He uses them to regulates his labile (fluctuating) sense of self-worth and self-esteem.
To elicit constant interest, the narcissist projects on to others a confabulated, fictitious version of himself, known as the False Self. The False Self is everything the narcissist is not: omniscient, omnipotent, charming, intelligent, rich, or well-connected.
The narcissist then proceeds to harvest reactions to this projected image from family members, friends, co-workers, neighbours, business partners and from colleagues. If these - the adulation, admiration, attention, fear, respect, applause, affirmation - are not forthcoming, the narcissist demands them, or extorts them. Money, compliments, a favourable critique, an appearance in the media, a sexual conquest are all converted into the same currency in the narcissist's mind, into Narcissistic Supply.
So, the narcissist is not really interested in publicity per se or in being famous. Truly he is concerned with the REACTIONS to his fame: how people watch him, notice him, talk about him, debate his actions. It "proves" to him that he exists.
The narcissist goes around "hunting and collecting" the way the expressions on people's faces change when they notice him. He places himself at the centre of attention, or even as a figure of controversy. He constantly and recurrently pesters those nearest and dearest to him in a bid to reassure himself that he is not losing his fame, his magic touch, the attention of his social milieu.
Vaknin, S. (2008, January 5). The Prodigy as Narcissistic Injury, HealthyPlace. Retrieved on 2020, November 27 from https://www.healthyplace.com/personality-disorders/malignant-self-love/the-prodigy-as-narcissistic-injury