拉康論移情 1123g

拉康論移情 1123g


Transference 論移情

1960 – 1961
Translated by Cormac Gallagher from unedited French typescripts
Cormac Gallagher 根據未編輯的法語錄音英譯

Seminar 2; Wednesday 23 November 1960

This “almost nothing” I will tell you if we have time today, it is important.
[Line missing in Master Copy]
to tell you, almost without nothing, is no doubt the essential.
And it is around this “almost nothing” that the stage really
turns, namely that people begin to really speak about the subject
in a way that one would have expected.


Let us say right away that when all is said and done, in the type
of adjustment, of arranging the level at which things are to be
taken, you will see that when all is said and done Socrates does
not set it particularly high with respect to what the others say:
(11) it consists rather in centring things, in adjusting the lights so that one can properly see what is the average height.


If Socrates tells us something it is, undoubtedly, that love is not something divine. He does not rate it very highly, but that is what he loves, he only loves that.


That having been said, the moment at which he begins to speak is also worthwhile underlining, it is just after Agathon.


I am obliged to bring them in one after another, in accordance with the rhythm of my discourse, instead of bringing them all in from the beginning namely Phaidros, Pausanias, Aristodemos who had come there I should say as a toothpick, namely that he met Agathon, Socrates, and Socrates brought him; there is also Eryximachos who is a colleague of most of you, who is a doctor; there is Agathon who is the host, Socrates (who brought Aristodemos) who arrives very late because on the way he had what we could call an attack.


The attacks of Socrates consist in coming to a sudden halt, and
standing on one leg in a corner. He stops in the house next door where he has no business. He is planted in the hallway between the umbrella stand and the coatstand and there is no way of waking him up.


You have to give a little bit of atmosphere to these things. They are not as you will see the boring stories that you thought they were at secondary school. I would like one day to give a discourse in which I would take my examples precisely in the Phaidros, or again in a certain play of
Aristophanes, on something absolutely essential without which there is all the same no way of understanding how there is situated, what I would call in everything that is proposed to us by antiquity, the enlightened circle of Greece.


We ourselves live all the time in the midst of light. The night is in short carried on a stream of neon. But imagine all the same that up to an epoch which there is no need to refer to the time of Plato, a relatively recent epoch, night was night.


When someone comes to knock, at the beginning of the Phaidros, to wake up Socrates, because he has to get up a little bit before daybreak (I hope that it is in the Phaidros but it does not matter, it is at the start of one of Plato’s dialogues) it is quite a business.


He gets up, and he is really in the dark, namely that he knocks things over if he tries to take a step.


At the beginning of a play by Aristophanes to which I also alluded, when one is in the dark one is really in the dark, it is here that one does not recognise the person who touches your hand.


To take up what was still happening at the time of Marguerite de Navarre, the stories of the Heptameron are full of stories of this sort.


Their possibility rests on the fact that at that time, that when one slipped into a woman’s bed at night, it is considered to be one of the things that is most possible, provided you keep your mouth shut, to have oneself taken for her (12) husband or for her lover. And this it appears was frequently practised.


This completely changes the dimension of relationships between human beings. And obviously what I would call in a quite different sense the diffusion of lights changes many things because of the fact that night is no longer for us a consistent reality, the fact that you can no longer pour it from a ladle, make of blackness something dense, removes certain
things, many things from us.


All of this to come back to our subject which is the one that we must come back to, namely what is signified by this illuminated circle in which we are, and what is in question as regards love when one speaks about it in Greece. When one speaks about it, well… as M. de la Palisse would say, we are dealing with Greek love.



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