Anxiety 78 Jacques Lacan

Anxiety 78

Jacques Lacan
雅克 拉康

THE SEMINAR OF JACQUES LACAN
BOOK X
雅克、拉康研討會第十冊

ANXIETY 論焦慮

1962 – 1963

Seminar 10: Wednesday 30 January 1963

In the case of neurosis, the position is different in so far as – as I told you – something appears here which distinguishes the function of the phantasy in the neurotic. Here there appears (13) at X something of his phantasy which is an o, and which only appears so (le parait).

在神經質病患的情況，立場不同，因為如同我告訴你們的，某件東西在此出現，彰顯幻見在神經質病患身上的功用。在此，在這個未知數X的地方，某件屬於他的幻見到東西出現，那是個大它者，只以大它者姿態出現。

And which only appears so because this little o is not specularisable and cannot appear here, as I might say, in person, but only as a substitute. And it is only there that there is applied the profound questioning of any authenticity in the classical analysis of transference.

它只以大它者姿態出現，因為這個小客體不能夠成為自我理想的魅影，它不能親自出現在這裏，作為一個替代品，我不妨這樣說。只有在那裏，在古典的移情精神分析裏，對於真誠的深刻質疑，才應用得上。

But this is not to say that we have here the cause of
transference, and we have to deal with this little o which, for its part, is not on the stage, but which only asks at every
instant to be allowed to mount it to introduce its discourse
there, even if this were to sow, in the one who continues to hold. the stage, to sow confusion, disorder, to say: “Stop the
tragedy”, just as much as “Stop the comedy”, even though this is a little better.

但是這並不就是說，我們在此就得到移情的原因。我們必須處理這個小客體。就它本身而言，小客體並不是在舞臺上，它只是隨時要求被容許粉墨登場，以便在舞臺上介紹它的真理的論述，即使這是要播種，播種下混淆及混亂，在繼續支撐這個舞臺的人身上。它要說的是：「停止這齣悲劇吧！」同樣也可以說是：「停止這齣喜劇吧！」即使後者稍微好一點。

There is no drama. Why does Ajax get himself into such a stew, as they say, when after all if all he did was to exterminate the sheep that is so much the better? It is all the same less serious than if he had exterminated all the Greeks since he did not exterminate all the Greeks, he is all the less dishonoured; and if he indulges in this ridiculous manifestation everyone knows it is because Minerva cast a spell on him.

戲劇並不存在。為什麼希臘神話的阿傑克要將自己的幻見當著事實，搞得狼狽不堪？如人們所說的，假如他所作所為就是要將綿羊群，幻見成為敵人陣營殺戮，這豈不是更妙？這總比去殺戮所有的希臘陣營，來得較為輕鬆，因為他不殺盡所有希臘敵人，他也不見得就要名聲掃地。即使他自己陶醉於這種荒謬的展現，眾所周知，那也是智慧之神在他身上施了魔咒。

Comedy is less easy to exorcise. As everyone knows, it is more
gay, and even if one exorcises it, what happens on the stage can very easily continue; one begins again at the song of the
billygoat’s foot, at the true history of what is involved from
the beginning, at the origin of desire. And this is the reason
why moreover tragedy bears in itself, in its term, in its name,
its designation, this reference to the billygoat and the satyr, (14) whose place moreover was always reserved at the end of a trilogy.

喜劇比較不那麼容易驅除魔咒。眾所周知，喜劇比較歡娛。即使我們替它驅除魔咒，舞臺上所發生的事非常容易繼續下去。一聽到雄山羊的蹄聲，從一開始就牽涉到的真實的歷史中，在欲望的起源處，我們會再一次開始。這就是為什麼悲劇本身，以及自己的術語，自己的名稱，自己的指稱，都會提到雄山羊，好色淫蕩之神。它的位置總是被保留在希臘三部曲的末尾。

The billygoat who jumps onto the stage, is what acting-out is.

這隻雄山羊跳躍進入舞臺，就是激情演出的內容。

And the acting-out I am speaking about, namely the inverse
movement of what modern theatre aspires to, namely that the
actors go down among the audience: it is the spectators who mount the stage and say there what they have to say.

我正在談論的就是這個激情演出。換句話說，現代戲院熱切渴望的內容的相反。那就是觀眾跳上舞臺，說出他們必須說出的話。

And this is why someone like Margaret Little, chosen from among
others – and as I told you – really in the way that one
blindfolds oneself and lays out pages to make a divination by spinning a knife.

這就是為什麼，我喜歡小瑪格麗特，從眾人當中被選擇出來。我告訴過你們，就是一個人蒙上眼睛，攤開書頁，然後旋轉小刀，胡亂猜測命運。

Margaret Little, in her article on “The analyst’s total response to his patient’s needs”, of May-August 1957, Parts III-IV of Volume 38 of the International Journal of Psychoanalysis, pursues the discourse that I already dwelt on at a point in my seminar when this article had not yet appeared.

1957年，五月到八月，國際精神分析學期刊第三十八期，小瑪格麗特，在她的文章，論「精神分析師對於他的病患需求的回應」。她探討我在我的講座已經詳述過的論述，那時她的文章還沒有發表。

Those who were there will remember the remarks that I made, about a certain anxiety ridden discourse on her part and her attempts to master it in connection with counter-transference.

那些出現講座的人會記得我當時發表的話，關於某種充滿焦慮的論述，就她而言，以及就她的企圖要掌控跟反移情有關的焦慮。

They no doubt remember that I did not stop at the first appearance of the problem, namely the effects of an inexact interpretation, namely that one day an analyst says to one of his patients who comes back from having made a broadcast, a broadcast on a subject which interests the analyst himself – we see more or less the milieu in which this could have happened: “You spoke very well yesterday, but I see you are very depressed today; it is surely because of the fear you have of having hurt me by invading an area that I am
interested in”.

無可置疑，他們會記得，面對移情這個難題的出現，我並沒有停頓逃避。換句話說，對於妄加附會的解釋的影響。也就是說，有一天一位精神分析師對他的一位病人說，當這位病人到處廣播後回來看診，她廣播說精神分析師本人對某個病人動了真情。我們多多少少看出這樣的氛圍。在那裏，事情本來會這樣發生：「你昨天講得非常好，但是我看你今天非常沮喪。那確實是因為你恐懼會傷害到我，假如你闖入我真情流露的領域。」

Two years have to pass before the subject perceives, in connection with the return of an anniversary, that what had caused him to be so sad was linked to the feeling he (15) had, having made this broadcast, of having revived in himself the feeling of mourning that he had about the recent death of his mother who, he says, could therefore not see success represented for her son at being in this way momentarily promoted to the position of a star.

必須過兩年以後，這位生命的主體才感覺到，隨著周年紀念日的回來，當時引起他如此悲傷的原因，是跟他所做的這個廣播有關，在他身上重新喚起這種哀悼的感覺，因為他的母親最近的去世。他說，他的母親再也無法看到兒子功成名就的場景，雖然他現在已經被提升到明星地位。

Margaret Little is struck, because it is a patient that she had taken on from this analyst, by the fact that effectively the analyst in making his interpretation had done no more than
interpret what was passing through his own unconscious, namely
that effectively he was very sorry at the success of his patient.

小瑪格麗特深為感動，因為她從這位精神分析師接手這個病人的個案。實際上，這位精神分析師在從事他的解釋時，他僅僅是解釋通過他自己無意識的部份。換句話說，事實上，他對於他的病人的功成名就，非常感到遺憾。

陳春雄譯
32hsiung@pchome.com.tw