[Structure of a delusion. II. The distortion stage].

When one considers a text which deviates from the ordinary and logic rules of language and is pervaded by imagination, the intent of reasoning over its content impedes the adequate comprehension of the various significations born by the mentioned text. This difficulty of reasoning is due to the coexistence of significations incompatible among them. If we also take account the historic lag, the argumentation and the underestimation of the others by the author (they are only the 'redundant ones'), it becomes evident that we are to reconstruct a situation which is dangerously fragile. There is an added obstacle, the fact that the text has a significance in three levels - historic, fantastic and delusional-in which each message is decodified. The family, culture and belief contexts are the necessary material resources. The text becomes in this way, conventional, increasing its semantic credibility. The delusion, in spite of its appearing as a creation, is not more than a redundancy with which the author seeks a conciliation between incompatible ideas. Its significance changes, then, constantly and instead of informing, blocks its comprehension and frustrates the reader. To succeed in the recreation of a world in which the conditions mentioned be accomplished, it is necessary to persuade. That's way it is necessary for the author to legitimate the imaginary fillings of the text. The intent of symbolizing turns the deviation into distortion, second structural moment of delusion whose principal purpose is at the service of the new identity. The text is arranged as an inventio rethorica by means of the enthymem, procedure by which it becomes linked to the already mentioned semantic credibility. In this way the estimation of the other changes. They are taken into account according to their capacity of sending back what the deluded person wants to hear. The distortion is not limited to the text; it also reaches the appreciation of the others. All this ends in a complex rethoric development in which digressions, the slide of significations, and the anaphoras (repetions) abund. This repetition sends back to 'something-already-known', impossible of being symbolically expressed, but which constitutes the reference always present. We are again before an imaginary filling of the 'hole' of the text, where the delusional synecdoche places a part instead of the whole. A text construed in this way is never convincent nor conveys certitude. The delusional text needs to keep attached to the opinion of others. The author of a delusional text needs them as an essential public that may help him to convince himself of the text.