情愛理論(THE EROS THEROY)

情愛理論(THE EROS THEROY)

In the light of this discovery, the question of the trauma was answered in a most unexpected manner; but in its place the in­vestigator was faced with the problem of the erotic conflict, which, as our example shows, contains a wealth of abnormal ele­ments and cannot at first sight be compared with an ordinary erotic conflict. What is peculiarly striking and almost incredible is that only the pretence should be conscious, while the patient’s real passion remained hidden from her. In this case certainly, it is beyond dispute that the real relationship was shrouded in darkness, while the pretended one dominated the field of con­sciousness.
A. 有鑒於這項發現，我們以一種意想不到的方式解答了創傷理論的疑惑。但現在研究者面臨一個新的問題，與常見的情色衝突相比較，我們個案情色衝突包含許多無法一眼就立刻被辨識出的異常元素(elements)，令人驚訝且不可思議的是病人的熱情被隱藏在不屬於意識層次中，但看起來病人的偽裝原本應該要是屬於在意識層次的。無庸置疑的就這個案來說，她的真實愛情是籠罩在黑暗當中，只是偽裝的愛情關係主宰了她的意識層次。
B. 從這項發現來看，創傷的問題出乎意料之外地獲得解答。但是代替它的是，研究者面臨情色衝突的問題。依照我們的個案顯示，她情色衝突包含許多異常元素，乍然一看，無法跟一般的情色衝突比較。特別引人注意，而且幾乎匪夷所思的是，竟然僅有偽裝部分是意識層面，而病人真正的激情被隱藏，自己不知道。當然，在這個個案，真實的關係被包裹於黑暗當中， 而被偽裝的關係，控制著意識的領域。 這一點是無庸置疑的。
If we formulate these facts theoretically, we arrive at the following result: there are in a neurosis two tendencies standing in strict opposition to one another, one of which is un­conscious. This proposition is formulated in very general terms on purpose, because I want to stress that although the patho­genic conflict is a personal matter it is also a broadly human conflict manifesting itself in the individual, for disunity with oneself is the hall-mark of civilized man. The neurotic is only a special instance of the disunited man who ought to harmonize nature and culture within himself.

A. 若我們用理論來建構這些事實，我們會發現下列結果：在精神官能症當中有完全相反的兩種傾向，其中之一是潛意識的(unconscious)。我們故意用非常一般化的名詞來描述，因為我要強調的是，雖然造成精神官能症的衝突的來源與個人有關，但，廣義來說它也是人類的衝突表現在個人身上；因為人的不一致性其實是文明人的特徵，精神官能症只不過是一個特例，也就是一個應該要與生長環境與文化取得協調的人，發生不一致的情況罷了。

B. 若我們用理論來闡述這些事實，我們會獲得下列結果：在精神官能症當中，有兩種傾向處於嚴格的互相對立，其中之一是潛意識的傾向。我們故意用非常普遍的名稱來闡述這個議題，因為我要強調的是，雖然病因的衝突是個人的事情，但它也是廣泛的人類的衝突表現在個人身上。因為人自身的不協調其實是文明人的特徵。精神官能症只不過是一個特別明顯的例子，也就是，人應該在自身之內，讓天性與文化取得和諧，卻產生不協調。

The growth of culture consists, as we know, in a progressive subjugation of the animal in man. It is a process of domestica­tion which cannot be accomplished without rebellion on the part of the animal nature that thirsts for freedom. From time to time there passes as it were a wave of frenzy through the ranks of men too long constrained within the limitations of their culture.

A. 正如我們所知，文化成長包含了人類的獸性逐漸獲得壓抑，它牽涉到一種馴化的過程，也就是將追求自由的獸性加以壓抑。被束縛在文化太久各種階層的人們，經常會被一股狂熱浪潮所席捲，
B. 據我們所知，文化成長在於了人類身上的獸性逐漸獲得克制。它是一種馴化的過程，這個過程的完成，必然會引起動物天性層面的反抗，因為動物天性渴望自由。有時，在人類文化的限制之內，長久被約束的人的身份，會有一股所謂的狂熱浪潮通過。

Antiquity experienced it in the Dionysian orgies that surged over from the East and became an essential and characteristic ingredient of classical culture. The spirit of these orgies con­tributed not a little towards the development of the stoic ideal of asceticism in the innumerable sects and philosophical schools of the last century before Christ, which produced from the poly­theistic chaos of that epoch the twin ascetic religions of Mithra­ism and Christianity.

A. 在古時，有所謂自東方傳播過來的酒神狂歡祭典儀式而成為傳統文化的特色。這種儀式後來促成了斯多亞(stoic)的理想禁欲主義(asceticism)的形成及許多分化的學派及在基督之前一個世紀的哲學思想。 基督之前是處於一個混亂的多神時期，而後誕生了兩個極為相似也主張禁欲主義的宗教：拜日教(Mithraism)與基督教(Christianity) 。

B. 古時的人經驗到這種狂熱浪潮，在從東方洶湧過來的酒神狂歡祭典儀式，而這些祭典儀式就成為古典文化的基本的特有成份。這些狂歡祭典儀式的精神，在紀元前的最後一個世紀，強烈地促成斯多亞禁欲主義的理想，成為無數的流派與哲學的學派。這個世紀從那個時代的多神教混亂裡，產生兩個極為相似的禁欲主義的宗教：拜日教(Mithraism)與基督教(Christianity) 。

A second wave of Dionysian licentiousness swept over the West at the Renaissance. It is difficult to gauge the spirit of one’s own time; but in the succession of revolution­ary questions to which the last half century gave birth, there was the “sexual question,” and this has fathered a whole new species of literature. In this “movement” are rooted the beginnings of psychoanalysis, on whose theories it exerted a very one-sided in­fluence.

A. 在西方的文藝復興時代第二波狂歡放蕩的浪潮席捲而來。這個時代難以測量對個人的心靈影響，但它卻繼承上半個世紀所產生完全創新的「性問題」，而孕育了全新的文學作品。每個人都不可能完全不受當代潮流的影響，因此奠基於這樣的運動風潮，精神分析於焉誕生而對世人產生了片面的影響。

B. 文藝復興時代，第二波狂歡放蕩的浪潮席捲過西方世界。我們很難評估我們自己時代的精神，但是在上個世紀產生的革新的問題紛至遝來之際，會有「性的問題」。這個問題創立一整套新的文學流派。精神分析的開端就根源於這場「文學運動」，它從事片面的影響，對於精神分析學的理論。

After all, nobody can be completely independent of the currents of his age. Since then the “sexual question” has largely been thrust into the background by political and spiritual prob­lems. That, however, does nothing to alter the fundamental fact that man’s instinctual nature is always coming up against the checks imposed by civilization. The names alter, but the facts remain the same. We also know today that it is by no means the animal nature alone that is at odds with civilized constraints; very often it is new ideas which are thrusting upwards from the unconscious and are just as much out of harmony with the domi­nating culture as the instincts.

A. 自從那時起，性問題就從政治及靈性問題的背景中突顯出來，不過，性問題並不會改變一項基本的事實，也就是人類的本性總是與文明背道而馳，只是改個名稱但本質是沒有改變的。我們也知道在文明的框架下，獸性是不可能單獨存在（也很突兀）。然而許多潛意識所跑出來的新想法卻與主流文化相當和諧。
B. 畢竟，沒有人能完全獨立於他的時代潮流之外。自從那時，「性的問題」大部分被政治與精神的問題拿來充當背景。 可是， 那絲毫並沒有改變基本的事實： 人的本能天性總是跟文明賦加的約束抵觸衝突。名稱改變，但是這些事實始終是一樣。我們今天也知道，跟文明化的約束互相抵觸衝突的，絕非僅僅是動物性的天性而已。往往會有新的觀念從潛意識衝撞起來，他們與本能一樣，跟主流文化同樣是格格不入。

For instance, we could easily con­struct a political theory of neurosis, in so far as the man of today is chiefly excited by political passions to which the “sexual ques­tion” was only an insignificant prelude. It may turn out that politics are but the forerunner of a far deeper religious convul­sion. Without being aware of it, the neurotic participates in the dominant currents of his age and reflects them in his own con­flict.

A. 比方說，在今日人類政治當道的文化當中，我們可以輕鬆建構精神官能症的政治理論，其中性問題只不過是微不足道的序曲，結果可能發現政治不過是強烈宗教信仰的先驅。精神官能症的人參與當代的主流思潮其實只是反應出自身的內在衝突，但往往自己並未意識到這點。
B. 例如，我們能夠輕易地建構一種精神官能症的政治理論，因為今天的人們主要是受到政治激情所激動，「性的問題」僅是一個微不足道的序曲而已。結果證明，政治僅是更深層的宗教的發作的前導者。精神官能症患者不知道這一點，他參與他的時代的主流思潮，然後以他自己的衝突來反映它們。

Neurosis is intimately bound up with the problem of our time and really represents an unsuccessful attempt on the part of the individual to solve the general problem in his own person. Neurosis is self-division.

A. 精神官能症雖與我們時代的問題緊密結合在一起，卻也代表個人解決一般問題的失敗。精神官能症也會出現自我分岐，
B. 精神官能症跟我們時代的問題息息相關，他確實代表個人這一方面的一種徒勞的企圖，想要用他自己的方式，解決一般的問題。精神官能症患者是自我分裂的。

In most people the cause of the division is that the conscious mind wants to hang on to its moral ideal, while the unconscious strives after its–in the contemporary sense–unmoral ideal which the conscious mind tries to deny. Men of this type want to be more respectable than they really are.

A. 大多數人分歧的原因是意識心(conscious mind)想要堅持道德理念，但潛意識卻追求不道德（以互補的觀點來說）的想法，而這種想法正是意識心所強烈否認的。像這種類型的人希望他們名聲比他們實際更好。
B. 就大多數人的情況而言，自我分裂的原因是，意識的心靈想要堅持它的道德理想，但潛意識卻追求它的不道德理想（ 以當代的意義來說是不道德）。而這種不道德理想正是意識心靈所設法拒絕接受的。諸如其類的人卻想要獲得比他們實際的人格更多的尊敬。

But the conflict can easily be the other way about: there are men who are to all appearances very disreputable and do not put the least restraint upon themselves. This is at bottom only a pose of wickedness, for in the background they have the immoral side in the case of the moral man. (Extremes should therefore be avoided as far as possible, because they always arouse suspicion of their opposite.)

A. 但這種衝突也可以是剛好相反：也有人不論就任何面向來看都是聲名狼籍且肆無忌憚的。實際上只是他們以邪惡的姿態呈現，但骨子裡他們在潛意識中也有道德觀存在，正如同一個講道德的人潛意識中也有不道德的想法一樣。（因此我們應儘量避免極端，乃因極端總會讓人懷疑到有相反的另一面。）
B. 但這種衝突也可以是反其道而行：有些人從外部看起來是聲名狼籍，而且肆無忌憚的。實際上只是他們以邪惡的姿態呈現，正如同一個講道德的人潛意識中也有不道德的想法一樣。（因此我們應儘量避免極端，乃因極端總會讓人懷疑到有相反的另一面。）

This general discussion was necessary in order to clarify the idea of an “erotic conflict.” Thence we can proceed to discuss firstly the technique of psychoanalysis and secondly the question of therapy.

A. 為了澄清「情色衝突」的想法，我們需要一般性的討論，從那裡我們可以繼續探討精神分析的技術，其次可以討論治療的問題。
B. 為了澄清「情色衝突」的想法，我們需要一般性的討論，從那裡我們可以繼續探討,首先是精神分析的技術，其次可以討論治療的問題。

Obviously the great question for this technique is: How are we to arrive by the shortest and best path at a knowledge of what is happening in the unconscious of the patient? The original method was hypnotism: either interrogation in a state of hyp­notic concentration or else the spontaneous production of fanta­sies by the patient while in this state. This method is still occa­sionally employed, but compared with the present technique it is primitive and often unsatisfactory.

A. 這個技術最大的問題很顯然是：我們如何用最快、最佳的快捷方式去瞭解病人潛意識所發生的事情？最初的方法是催眠(hypnotism)：要不就是在催眠狀態下詰問病人，又或者是在催眠狀態下讓病人自發性的說出幻想內容。這樣的方式有時仍在使用，但相較於現在的技術它顯得原始且結果無法令人滿意。

B. 這個技術最大的問題很顯然是：我們如何用最快、最佳的快捷方式，去瞭解病人潛意識所發生的事情？最初的方法是催眠(hypnotism)：要不就是在催眠狀態下詰問病人，要不就是在催眠狀態下，讓病人自發性的說出幻想內容。這樣的方式有時仍在使用，但相較於現在的技術，它顯得原始，而且無法令人滿意。

A second method was evolved by the Psychiatric Clinic, in Zurich, the so-called asso­ciation method.1 It demonstrates very accurately the presence of conflicts in the form of “complexes” of feeling-toned ideas, as they are called, which betray themselves through characteristic disturbances in the course of the experiment.2 But the most im­portant method of getting at the pathogenic conflicts is, as Freud was the first to show, through the analysis of dreams.

A. 由蘇黎世的一家精神科診所演進的第二種方式是所謂的聯想方式(association method)。 非常準確地將衝突以重情緒想法「情結」（”complexes” of feeling-toned ideas）的形式加以呈現；正如其名，它在試驗 的過程中，透過特徵性的混亂而被顯示出來。然而誠如佛洛德最早所顯示的，透過分析夢來瞭解致病衝突來源的方法，才是最重要的一種方式。
B. 第二種方式，由蘇黎世的一家精神科診所研發，是所謂的聯想方式(association method)。 它非常準確地展示衝突的存在，以感覺基調「情結」（”complexes” of feeling-toned ideas）。顧名思義，它在試驗 的過程中，透過特徵性的混亂而被顯示出來。然而，透過分析夢來瞭解致病衝突的來源，才是最重要的一種方式。佛洛德是最先這樣顯示的人。

Of the dream it can indeed be said that “the stone which the builders rejected, has become the head of the cor­ner.” It is only in modern times that the dream, this fleeting and insignificant-looking product of the psyche, has met with such profound contempt.就夢而言，我們確實可以這樣說：「匠人所棄的石頭，已作了房角的頭塊石頭。」夢，是心理所創造稍縱即逝且微不足道的產物，在近代遭受極大的輕蔑。

A. 就夢而言，我們確實可以這樣說：「匠人所棄的石頭，已經成為房屋的奠基石。」夢，是心理所創造稍縱即逝且微不足道的產物，只有在近代，它才遭受如此極大的輕蔑。

Formerly it was esteemed as a harbinger of fate, a portent and comforter, a messenger of the gods. Now we see it as the emissary of the unconscious, whose task it is to reveal the secrets that are hidden from the conscious mind, and this it does with astounding completeness.

A. 以前，夢被當作是命運、吉凶之兆或神明信使的預示而受人尊敬；但現代我們把夢視為潛意識的特使，將令人震驚地隱藏在意識心下的秘密一覽無遺地給揭發出來。

B. 以前，夢受人尊敬為命運、吉凶、或神明信使的預示者；但在現代，我們把夢視為潛意識的密使，將隱藏不讓意識心靈知道的秘密，一覽無遺地給揭發出來。

The “manifest” dream, i.e., the dream as we remember it, is in Freud’s view only a facade which gives us no idea of the interior of the house, but, on the contrary, carefully conceals it with the help of the “dream cen­sor.”

A. 若我們還記得，揭示的夢在佛洛德的觀念裡就像一個房子的外牆，似乎我們無從看到房子的內在，透過「夢的壓抑」（dream censor）病人的衝突被小心地隱藏在夢中。
B. 「顯性」的夢，諸如我們記得的夢，從佛洛德的觀點，僅是一個房子的外牆，沒有讓我們看到房子的內部。但是，相反地，它透過「夢的檢查」的幫助，仔細隱藏房屋的內部。

If, however, while observing certain technical rules, we in­duce the dreamer to talk about the details of his dream, it soon becomes evident that his associations tend in a particular direction and group themselves round particular topics.

A. 然而當我們觀察某些技術的規則時，如果我們引導作夢的人說出夢的細節，很快地就會發現它的連結是以一種特定的方向且圍繞在某些特定的主題。

B. 然而，我們觀察某些技術的規則時，如果我們引導作夢的人說出夢的細節，很快地就會顯現，他的聯想是朝著一種特定的方向，並且圍繞在某些特定的主題聚集。

These are of personal significance and yield a meaning which could never have been conjectured to lie behind the dream, but which, as careful comparison has shown, stands in an extremely delicate and meticulously exact relationship to the dream facade.

A. 這些主題對個人來說有獨特的重要性。隱藏在夢之後的意義原本是不可能被推測出來，但透過小心的比較會發現其實它以極度精巧及細膩的方式包裝在夢的外牆內。

B. 這些主題對個人來說，具有獨特的重要性，並且產生一種意義。這個意義原本是不可能被推測會是隱藏在夢的背後，但透過仔細的比較，我們會發現，它跟夢的外部，處於一種極度精巧及細膩精確的關係。

This particular complex of ideas wherein are united all the threads of the dream is the conflict we are looking for, or rather a variation of it conditioned by circumstances.

A. 我們將夢的所有主題串連在一起就會顯示出特定的情節想法，於是就可以找到我們尋求的衝突；這種衝突有時會受到環境制約而產生一些轉化。

B. 這些觀念的這個特別情結，就是我們正在尋找的衝突，換句話說，被環境制約的衝突的變化。在那裡，夢的各種線索被聯合起來。

According to Freud, the painful and incompatible elements in the conflict are in this way so covered up or obliterated that we may speak of a “wish­fulfilment.” However, it is only very seldom that dreams fulfil obvious wishes, as for instance in the so-called body-stimulus dreams, e.g., the sensation of hunger during sleep, when the de­sire for food is satisfied by dreaming about delicious meals.

A. 根據佛洛德的說法，衝突內痛苦、矛盾的元素會以夢的形式來掩飾或刪除致使我們可能會說「願望實現」了；雖然很少發生，但夢有時真的會實現我們的願望，正如同所謂身體刺激的夢，例如當我們在睡眠中感到饑餓，於是我們渴求食物，這種欲望在夢中會夢見可口的餐點而被滿足。

B. 根據佛洛德的說法，衝突的痛苦及矛盾的元素，會以這種形式，來掩飾或刪除我們可能會提到的「願望實現」；可是，夢實現明顯的願望，僅是非常罕見。譬如，在所謂身體受到刺激的夢，例如當我們在睡眠中感到饑餓，這種對於食物的欲望，會因為夢見可口的餐點而被滿足。

Likewise the pressing idea that one ought to get up, conflicting with the desire to go on sleeping, leads to the wish-fulfilling dream-idea that one has already got up, etc. In Freud’s view there are also unconscious wishes whose nature is incompatible with the ideas of the waking mind, painful wishes which one prefers not to admit, and these are precisely the wishes that Freud re­gards as the real architects of the dream.

A. 同樣迫切的想法當一個人認為應該起床了，卻與想要繼續睡覺的欲望衝突，於是就會夢見自己已經起床像這類實現願望的夢。佛洛德認為，有些潛意識的願望與清醒時的想法互相矛盾，它們通常是一些痛苦的願望，導致人們寧可不去承認，像這樣的願望正是佛洛德所認為的夢之創造者。

B. 同樣地，我們應該起床了的這個迫切的想法，跟想要繼續睡覺的欲望衝突，就會導致這個實現願望的夢的觀念：我們已經起床，等等。佛洛德認為，有些潛意識的願望，它們的特性與清醒時的想法互相矛盾，它們通常是一些令人痛苦的願望，人們寧可不去承認。像這樣的願望，正是佛洛德所認為的夢之真正建造者。

For instance, a daugh­ter loves her mother tenderly, but dreams to her great distress that her mother is dead. Freud argues that there exists in this daughter, unbeknown to herself, the exceedingly painful wish to see her mother removed from this world with all speed, be­cause she has secret resistances to her.

A. 例如，一位深愛母親的女兒，卻痛苦地夢見母親過世；佛洛德認為在這位女兒身上存在著連她自己都不為所知且極度痛楚的願望，就是希望她母親以最快的速度從世界上消失，因為其實女兒想要抵制著母親。

B. 例如，一位深愛母親的女兒，卻痛苦地夢見母親過世；佛洛德認為，在這位女兒身上，存在著連她自己都不知道，而且極度令人痛楚的願望。就是希望她母親以最快的速度從世界上消失，因為女兒秘密地在跟母親對抗。

Even in the most blame­less daughter such moods may occur, but they would be met with the most violent denial if one tried to saddle her with them. To all appearances the manifest dream contains no trace of wish-fulfilment, rather of apprehension or alarm, consequently the direct opposite of the supposed unconscious impulse.

A. 即使再怎麼清白無疵的女兒都可能產生這樣的心境，但如果有人企圖將這種想法強加于這位女兒的身上，那將會遭遇到相當猛烈地否認。就各面向來說揭露的夢並沒有任何願望實現的痕跡，也不是焦慮、警告或者是潛意識衝動的相反。

B. 即使再怎麼孝順的女兒，都可能產生這樣的心境。但如果有人企圖將這種想法強加于這位女兒的身上，他將會遭遇到她的斥口否認。從外表看起來，顯性的夢並沒有包含任何願望實現的跡象，相反的僅是包含是焦慮或警示的跡象。結果是跟被認為的潛意識衝動恰恰相反。

But we know well enough that exaggerated alarm can often and rightly be suspected of the contrary. (Here the critical reader may justi­fiably ask: When is the alarm in a dream exaggerated?) Such dreams, in which there is apparently no trace of wish-fulfilment, are innumerable: the conflict worked out in the dream is uncon­scious, and so is the attempted solution.

A. 但我們知道誇張的警示往往與猜想的剛好相反。（因此讀者可能會問：什麼時候在夢中會出現誇張的警示？）像這種完全看不出願望實現痕跡的夢數目很多：在夢中出現的衝突及企圖解決的方式都是潛意識的。

B. 但我們足夠清楚地知道，誇張的警示往往，而且很有理由被懷疑，是剛好相反的東西。（在此，挑剔的讀者很有理由會問：夢中的警示什麼時候被誇張?）像這種顯而易見看不出願望實現跡象的夢，多得不勝枚舉。在夢中蘊釀的衝突是潛意識，企圖獲得解決也是潛意識。

Actually, there does exist in our dreamer the tendency to be rid of her mother; expressed in the language of the unconscious, she wants her mother to die. But the dreamer should certainly not be saddled with this tendency because, strictly speaking, it was not she who fabricated the dream, but the unconscious.

A. 確實這位作夢的女兒真的存在想要除掉母親的傾向，但卻是以潛意識的語言呈現出來，也就是她希望她母親死亡。但作夢的人當然不會接受這種想法，因為就嚴格來說，並不是她製造這個夢，而是潛意識做的。
B. 的確，這位作夢的女兒真的存在想要除掉母親的傾向，但卻是以潛意識的語言呈現出來，也就是她希望她母親死亡。（但作夢的人當然不會接受這種想法，因為就嚴格來說，並不是她製造這個夢，而是潛意識做的。）

The unconscious has this tendency, most unexpected from the dreamer’s point of view, to get rid of the mother. The very fact that she can dream such a thing proves that she does not consciously think it. She has no notion why her mother should be got rid of.

A. 從作夢者的角度來看，潛意識想要除掉母親的傾向是相當意料之外的事，而事實上確實如果她都可以夢到這種夢，就代表她的意識心真的壓根地都沒想過。對於她母親為何該被除去她連一點概念也沒有。
B. 從作夢者的角度來看，潛意識想要除掉母親的傾向是相當意料之外的事。她會夢到這種事情，這個事實就證明，她的意識心靈真的沒想過。對於她母親為何該被除去，她連一點概念也沒有。
Now we know that a certain layer of the unconscious contains everything that has passed beyond the recall of memory, including all those infantile instinctual impulses which could find no outlet in adult life.
A. 現在我們知道潛意識某些層面包含過去記憶的每項事物，也包括嬰兒本能在成人世界無法找到出口的衝動。
B. 現在我們知道，潛意識的某個層面，包含每件經歷過，但不見得記得起來的事物。其中包括所有那些嬰兒本能的衝動，那些衝動在成人世界，無法找到發洩。
We can say that the bulk of what comes out of the unconscious has an infantile character at first, as for instance this wish, which is simplicity itself: “When Mummy dies you will marry me, won’t you, Daddy?” This expression of an infantile wish is the substitute for a recent desire to marry, a desire in this case painful to the dreamer, for reasons still to be discovered.

A. 我們可以說大多數潛意識的組成最初都是來自于嬰兒的性格，就像此例本身很簡單：「媽媽如果死了，爸爸你就會娶我，對吧？」。嬰兒願望的表達方式取代了想要與父親結婚的想法，這種欲望對作夢者本身相當痛苦，而原因仍有待瞭解。
B. 我們可以說，大多數來自潛意識的東西，最初都具有嬰兒時期的性格。就像此例，本身很簡單：「媽媽如果死了，爸爸你就會娶我，對吧？」。嬰兒願望的表達方式，取代了最近想要結婚的欲望，在這個個案，這種欲望令作夢者相當痛苦，而原因仍有待瞭解。

The idea of marriage, or rather the seriousness of the corresponding impulse, is, as they say, “repressed into the unconscious” and from there must necessarily express itself in an infantile fashion, because the material at the disposal of the unconscious consists largely of infantile reminiscences.

A. 結婚的想法，或就這種衝動的嚴肅性來說，正如前人所言是「被潛抑(repressed)至潛意識中」而從潛意識裡必須將它以嬰兒會使用的風格加以表現，因為潛意識的處理使用的絕大部分都是來自于嬰兒回憶的素材。

B. 結婚的想法，或確切地說，伴隨這種想法而來的衝動的嚴肅性，正如前人所言，是「被潛抑(repressed)至潛意識中」。 然後從那裡，它必須將它以嬰兒會使用的風格加以表現。因為潛意識的處理使用的素材，大部分都是由嬰兒時期的回憶組成。

Our dream is apparently concerned with a twinge of infan­tile jealousy. The dreamer is more or less in love with her father, and for that reason she wants to get rid of her mother. But her real conflict lies in the fact that on the one hand she wants to marry, and on the other hand is unable to make up her mind: for one never knows what it will be like, whether he will make a suitable husband, etc.

A. 我們的夢明顯地與嬰兒嫉妒的痛苦有關。這位作夢的人或多或少愛戀著她的父親，因此她想要除去她的母親。但她真實的衝突在於她既想要與父親結婚，又苦於無法下決定：因為她永遠不知道未來會怎樣，或擔心他會不會是

B. 我們的夢明顯地與嬰兒嫉妒的痛苦有關。這位作夢的人或多或少愛戀著她
的父親. 因為這個理由，她想要除去她的母親。但她真實的衝突在於這個事實： 她一方面想要結婚，另一方面，又無法下決定。因為她永遠不知道未來會怎樣，或他會不會是一個好丈夫，等等。

Again, it is so nice at home, and what will happen when she has to part from darling Mummy and be all independent and grown up? She fails to notice that the marriage question is now a serious matter for her and has her in its grip, so that she can no longer creep home to father and mother with­out bringing the fateful question into the bosom of the family.

A. 當她在待在家裡的情況或許還好，不過一旦當她與母親告別即將獨立而長大又會發生什麼事呢？她沒有注意到結婚是個嚴肅的問題但她卻已經被結婚這個問題所束縛，她將再也不能爬向她的父親及母親撒嬌而不去面對家庭內命中註定的核心問題。

B. 而且，待在家裡的情況還不錯。一旦當她必須離開親愛的母親，成為獨立及成年，又會怎樣的況景呢？她沒有注意到，對於她而言，結婚現在是一個嚴肅的問題，已經困擾著她。她將再也不能回家向她的父親及母親撒嬌，而不去面對家庭內命中註定的核心問題。

She is no longer the child she once was; she is the woman who wants to get married. As such she comes back, complete with her wish for a husband. But in the family the father is the husband and, without her being aware of it, it is on him that the daugh­ter’s desire for a husband falls. But that is incest!

A. 她再也不是的小孩子了，她已經是個想要結婚的女人了。因此她想走回家，完成她找到丈夫的願望。在她意識面沒有注意到的狀況下，家中的父親就是一個女兒心中的丈夫。但那可是亂倫！
B. 她再也不是以前的小孩子樣了，她已經是個想要結婚的女人了。作為這樣的女人，她想回家，完成她找到丈夫的願望。在她意識面沒有注意到的狀況下，家中的父親就是一個女兒心中的丈夫。但那可是亂倫！

In this way, there arises a secondary incest-intrigue. Freud assumed that the tendency to incest is primary and the real reason why the dreamer cannot make up her mind to marry. Compared with that, the other reasons we have cited count for little.

A. 也因此產生了次發性的亂倫陰謀。佛洛德假定傾向於亂倫是屬於原發性的，這位作夢者無法下決心是否要結婚是主要起源。我們提及的其他理由比較於此都顯得微不足道。

B. 以這種方式，產生了次發性的亂倫陰謀。佛洛德認為。亂倫的傾向是屬於原發性的，跟那個理由比較起來，我們提及的其他理由都顯得微不足道。

With regard to this view I have long adopted the standpoint that the occasional oc­currence of incest is no proof of a universal tendency to incest, any more than the fact of murder proves the existence of a uni­versal homicidal mania productive of conflict.

A. 關於這個想法我長期都採取一個觀點，那就是偶爾發生的亂倫並不代表全世界都傾向於亂倫，正如同有謀殺的事實並不代表全世界的人都會因衝突而去殺人。
B. 關於這個想法，我長期都採取一個觀點，那就是偶爾發生的亂倫，並不證明亂倫的傾向普遍存在，正如同有謀殺的事實，並不證明因衝突而去殺人的狂熱的普遍存在。

I would not go so far as to say that the germs of every kind of criminality are not present in each of us. But there is a world of difference between the presence of such a germ and an actual conflict with its result­ing cleavage of the personality, such as exists in a neurosis.

A. 我絕不會過度引申說每種犯罪的起源都不會存在我們身上。但存在犯罪的起源，與衝突導致的人格分裂（如精神官能症一樣）兩者之間是有差異性的。

B. 我絕不會過度引申說, 在我們每個人身上，不會存有各種犯罪的因數。但犯罪因數的存在，與實際的衝突及導致的人格分裂，諸如精神官能症的人格分裂，兩者之間是有很大的差異。

If we follow the history of a neurosis with attention, we regularly find a critical moment when some problem emerged that was evaded. This evasion is just as natural and just as common a reaction as the laziness, slackness, cowardice, anxiety, ignorance, and unconsciousness which are at the back of it.

A. 若我們注意看一下個案精神官能症的病史，可以發現某個時間出現的某種問題經常以逃避方式呈現，這種逃避看起來相當自然就好像一般的反應，但卻是出自於潛意識：如懶惰、鬆懈、膽小、焦慮、無知

B. 若我們注意追蹤精神官能症的病史，我們經常會發現，在某個時間，某種被逃避的問題會出現，這種逃避跟這些反應同樣自然，也同樣普遍：諸如懶惰、鬆懈、膽小、焦慮、無知、及支撐它們的潛意識。

Whenever things are unpleasant, difficult, and dangerous, we mostly hesi­tate and if possible give them a wide berth. I regard these rea­sons as entirely sufficient. The symptomatology of incest, which is undoubtedly there and which Freud rightly saw, is to my mind a secondary phenomenon, already pathological.

A. 當遇到一些令人不悅的事情或困難、危險的時候，我們大多會猶豫或，如果可以的話，就停在那兒不動。我認為這些理由就足夠解釋了。亂倫的症狀，無疑地絕對是存在的，而這些症狀正如佛洛德所見到的病態，對我來說是次發性的現象。

B. 每當事情令人不悅，困難、危險，我們大多會猶豫，如果可以的話，就跟它們敬而遠之。我認為這些理由就足夠充分。亂倫的症狀，無疑地絕對是存在的，佛洛德很有理由親眼目睹。我的看法是，這是次發性的現象，已經是病態的現象。

The dream is often occupied with apparently very silly details, thus producing an impression of absurdity, or else it is on the surface so unintelligible as to leave us thoroughly bewil­dered.

A. 夢常充斥著看起來令人覺得很笨的細微事物，因此給人一種荒謬的印象，或在表面上看起來艱澀難懂而讓我們徹底地感到困惑。

B. 夢常往往充斥著顯而易見的荒謬的細節，因此會產生一種荒謬的印象，或是在表面上如此匪夷所思，而讓我們徹底地感到困惑。

Hence we always have to overcome a certain resistance before we can seriously set about disentangling the intricate web through patient work.

A. 我們需要克服某種阻抗才能解開病人所製造出來錯綜複雜的心網。

B. 因此，我們總是需要克服某種阻抗，我們才能認真地開始解開，病人所製造出來錯綜複雜的心網。

But when at last we penetrate to its real meaning, we find ourselves deep in the dreamer’s secrets and discover with astonishment that an apparently quite senseless dream is in the highest degree significant, and that in reality it speaks only of important and serious matters.

A. 一旦我們穿越找到真實的意義時，我們將深陷作夢者的秘密中，驚奇的發現一個相當看似無目的的夢，竟然有著高度的意義。

B. 但是當我最後探究到它的真實的意義時，我們發現自己深入參與作夢者的秘密，驚奇地發現，一個表面上完全無意義的夢，竟然具有高度的重要性。而在現實界，夢僅是談到重要及嚴肅的事情。

This discovery compels rather more respect for the so-called superstition that dreams have a meaning, to which the rationalistic temper of our age has hitherto given short shrift.

A. 過去所謂夢具有意義的想法，曾被理性主義者譏為迷信，然這項發現讓我們不得不尊重過去的想法並且需要懺悔。

B. 夢具有意義的所謂迷信，我們這個時代的理性主義的精神，迄今始終予以漠視。現在這項發現，讓它獲得較多的尊敬。

As Freud says, dream-analysis is the via regia to the unconscious. It leads straight to the deepest personal secrets, and is, therefore, an invaluable instrument in the hand of the physician and educator of the soul.

A. 誠如佛洛德所說，夢的分析是通往潛意識的康莊大道。它直接引領我們前往最深層的私密，也是一位醫師及教育家所擁有一項價值非凡的工具

B. 誠如佛洛德所說，夢的分析是通往潛意識的康莊大道。它直接通往最深層的私人的私密，因此，在靈魂的醫師及教育家手中，它是一項價值非凡的工具。

The analytical method in general, and not only the specifically Freudian psychoanalysis, consists in the main of numerous dream-analyses. In the course of treatment, the dreams succes­sively throw up the contents of the unconscious in order to expose them to the disinfecting power of daylight, and in this way much that is valuable and believed lost is found again.

A. 一般而言，分析的方式不僅指佛洛德的精神分析，雖然它常被用在大部分夢的解析中。在治療過程中，夢會將潛意識中的東西不斷地丟出來好似將它放在日光下加以消毒一般。這種方式我們相信是極具有價值的，且能將我們曾經失去的加以找回。

B. 一般而言，分析的方式不僅明確指佛洛德的精神分析，它主要是由無數的夢的解析組成。在治療過程中，夢會將潛意識中的內容不斷地丟出來，好似將它暴露在日光下加以消毒一般。以這種方式，許多有價值的東西，而且被認為是已經消失的東西，再一次被尋找回來。

It is only to be expected that for many people who have false ideas about themselves the treatment is a veritable torture. For, in accord­ance with the old mystical saying, “Give up what thou hast, then shalt thou receive!” they are called upon to abandon all their cherished illusions in order that something deeper, fairer, and more embracing may arise within them.

A. 但對許多對自己擁有虛假信念想法的人們來說，這樣的治療可以想見是名副其實的酷刑。因為根據一句古老的秘語：「要先放棄，才能收穫」，會如此說是因為病人會先被要求放棄所有他們珍視的錯覺，只為了獲得某種更深層、更誠實、意涵更寬廣的事物就藏在錯覺裡面。

B. 但對許多對自己擁有虛假信念的人們來說，這樣的治療被預期是是名副其實的酷刑。因為根據一句古老的秘語，「要先放棄你的所有，你才能收穫！」，他們被要求放棄一切他們珍惜的幻覺，為了讓某種更深層、更美好、意涵更寬廣的東西，從他們內心升起。

It is a genuine old wis­dom that comes to light again in the treatment, and it is espe­cially curious that this kind of psychic education should prove necessary in the heyday of our culture. In more than one respect it may be compared with the Socratic method, though it must be said that analysis penetrates to far greater depths.

A. 古人的智慧在治療中再度體現，像這樣的精神教育在我們時代非常必要，某種面向來說它可以與蘇格拉底探索問法並駕齊驅，甚至可以說分析法接觸到的層次更深也更遠。

B. 在治療過程，再次真相大白的，是真誠的古人的智慧。特別耐人尋味的是，像這樣的精神教育，在我們文化的極盛時代，證明是非常必要的。從不僅是一個面向來說，它可以與蘇格拉底的探索問法相提並論，甚至我們必須說，精神分析探究到的更強烈的深處。

The Freudian mode of investigation sought to prove that an
overwhelming importance attaches to the erotic or sexual factor as regards the origin of the pathogenic conflict. According to this theory there is a collision between the trend of the conscious mind and the unmoral, incompatible, unconscious wish.

A. 佛洛德的探索模式尋求一個證明，也就是情色或性愛因素在致病衝突的來源扮演極度重要的角色。根據這項理論，意識心與潛意識中不道德、矛盾的願望兩者互相碰撞。

B. 佛洛德的探索模式嘗試證明，情色或性愛因素，在致病衝突的來源，扮演極度重要的角色。根據這項理論，意識心靈的趨向，與不道德、不和諧的潛意識的願望，兩者互相衝突。

The unconscious wish is infantile, i.e., it is a wish from the childish past that will no longer fit the present, and is therefore repressed on moral grounds.

A. 潛意識的願望是相當幼稚的，也就是說它是來自於童年時期過去的願望但與現在格格不入，也因此在道德層次會被潛抑。

B. 潛意識的願望是屬於嬰兒期，也就是說，它是來自於過去童年時期的願望。 這個願望將不再適合於目前，也因此根據道德的理由，它會被潛抑。

The neurotic has the soul of a child who bears ill with arbitrary restrictions whose meaning he does not see; he tries to make this morality his own, but falls into disunity with himself: one side of him wants to suppress, the other longs to be free-and this struggle goes by the name of neurosis.

A. 精神官能症就像是一個小孩，當施加於他身上任意的限制時他就會生病，卻不知道這些限制的意義。他企圖擁有自己的道德觀，卻缺乏自我整合。其中一個他想要壓抑(suppress)，另一個他卻希望自由──這種掙扎正如精神官能症其名意涵一樣。

B. 精神官能症患者擁有小孩的靈魂。當施加於他身上任意的限制時，他就痛苦萬分，因為他不知道這些限制的意義。他企圖擁有自己的道德觀，卻陷入自身的分崩離析。他的其中一面想要壓抑(suppress)，他的另一面，卻渴望自由─這種掙扎藉著精神官能症的名義在進行。

Were the conflict clearly conscious in all its parts, presumably it would never give rise to neurotic symptoms; these occur only when we cannot see the other side of our nature and the urgency of its problems.

A. 假若在意識上這些衝突也清楚的存在，那它應該不會產生精神官能症的症狀；這些症狀只會發生在當我們看不見另一個我們的天性時，以及問題已經非常緊急才會出現

B. 假若這個衝突在它的各個部分，都被意識到，，那它永遠不會產生精神官能症的症狀。只有當我們看不見我們的天性的另一面，及它的問題的迫切性時，這些症狀才會發生。

Only under these conditions does the symptom ap­pear, and it helps to give expression to the unrecognized side of the psyche. The symptom is therefore, in Freud’s view, the ful­filment of unrecognized desires which, when conscious, come into violent conflict with our moral convictions.

A. 只有在這樣的狀況下，這些症狀才會出現，它幫助吾人表達心理中不被承認的另一面。因此這些症狀在佛洛德的觀點中，是去實現不被承認的欲望，因這些欲望若存在意識中，那將會與我們自身的道德信念發生猛烈的衝突。

B. 只有在這些的狀況下，這個症狀才會出現。它有助於表達心靈不被承認的另一面。因此，在佛洛德的觀點，這個病徵是不被承認的欲望的實現。當這些不被承認的欲望被意識到時，它們會與我們自身的道德信念，發生猛烈的衝突。

As already ob­served, this shadow-side of the psyche, being withdrawn from conscious scrutiny, cannot be dealt with by the patient. He can­not correct it, cannot come to terms with it, nor yet disregard it; for in reality he does not “possess” the unconscious impulses at all.

A. 心理的黑暗面正如吾人的觀察，它無法被病人所處理，而在意識的監督下被抽離。病人不能修正它，無法與它妥協，更無法不去管它；因為就現實來說，他完全無法「擁有」這些潛意識的衝動。

B. B.如吾人的觀察，心理的陰陽的一面，在意識的監督下被抽離，而病人對它束手無策。病人不能修正它，無法與它妥協，更無法不去管它；因為就現實來說，他完全無法「擁有」這些潛意識的衝動。

Thrust out from the hierarchy of the conscious psyche, they have become autonomous complexes which it is the task of anal­ysis, not without great resistances, to bring under control again.

A. 我們分析的工作正是這些從心理意識的層面被推擠出來且自動出現的情節(autonomous complexes)，使得它們在沒有太大阻抗的情況下，重新獲得控制。有些自吹自擂的病人聲稱他們沒有黑暗面，並向我們保證他們沒有衝突；

B. 當這些潛意識的衝動從意識到心靈被拋擲從來，它們已經變成自動自發的情結。將這些情結再次控制，就是精神分析的任務，雖然不無遭遇強烈的阻抗。

There are patients who boast that for them the shadow-side does not exist; they assure us that they have no conflict, but they do not see that other things of unknown origin cumber their path­hysterical moods, underhand tricks which they play on them­selves and their neighbours, a nervous catarrh of the stomach, pains in various places, irritability for no reason, and a whole host of nervous symptoms.

A. 有些自吹自擂的病人聲稱他們沒有黑暗面，並向我們保證他們沒有衝突；但他們卻沒有看到那些妨礙他們道路的未知事物──歇斯底里的情緒、他們對自己和對鄰居所施加的不正當的手段、神經緊張的胃炎、到處的疼痛、無緣無故的易怒，以及許多其他的神經質症狀。
B. 有些病人自誇地聲稱，對於他們而言，陰陽的一面並不存在。他們向我們保證，他們沒有衝突；但他們卻沒有看到，其它未知起源的東西，束縛他們的途徑──歇斯底里的情緒、他們對自己和對鄰居所施加的不正當的手段、神經緊張的胃炎、到處的疼痛、無緣無故的易怒，以及許多其他的神經質症狀。

Freudian psychoanalysis has been accused of liberating man’s (fortunately) repressed animal instincts and thus causing incalculable harm. This apprehension shows how little trust we place in the efficacy of our moral principles.

A. 有人指控佛洛德的精神分析釋放了人類（還算幸運地）潛抑的獸性而導致無法計量的傷害。這種憂慮顯示出我們對自己堅守的道德原則是多麼的不信任。
B. 佛洛德的精神分析曾經被指控解放了人類（還算幸運地）潛抑的動物本能，而引起無法計量的傷害。這種憂慮顯示出，我們對自己堅守的道德原則的有效性，是多麼的不信任。

People pretend that only the morality preached from the pulpit holds men back from unbridled licence; but a much more effective regulator is necessity, which sets bounds far more real and persuasive than any moral precepts.

A. 人們假裝只有從教堂佈道所獲得的道德是將人類從放縱中加以束縛的方式，但還需要更有效的調節方式，來界定更真實也更具說服力道德範疇。

B. 人們假裝，只有從教堂佈道所獲得的道德，才能控制人們不要從事肆無忌憚的放蕩。但還需要更有效的調節方式，比起任何的道德教誨，它們建立更加真實及更加具有說服力的約束，

It is true that psychoanalysis makes the ani­mal instincts conscious, though not, as many would have it, with a view to giving them boundless freedom, but rather to incorpo­rating them in a purposeful whole. It is under all circumstances an advantage to be in full possession of one’s personality, other­wise the repressed elements will only crop up as a hindrance elsewhere, not just at some unimportant point, but at the very spot where we are most sensitive.

A. 確實精神分析讓動物本能拉高到意識層次(但不是每個人都能夠做的到)，與其說讓它自由自在，不如說是將它故意整合於自己全部的人格中。一個人如果能夠掌握自己全部的人格絕對是有好處的，不然的話，潛抑的部份將如同障礙物般出現在其他地方，不止不重要的地方，也會出現在我們最敏感的地方。

B. 的確，精神分析讓人瞭解到動物本能，但是不是為了要給予人們無拘無束的自由，如許多人所以為。相反地，而是為了融合它們成為一個有意義的整體。無論在任何情境，充分掌控自己的人格是有益的。 否則受到潛抑的因素只會突然出現，作為別處的阻礙。不僅在某個不重要的點，而且在我們最為敏感的地帶。

If people can be educated to see the shadow-side of their nature clearly, it may be hoped that they will also learn to understand and love their fellow men bet­ter. A little less hypocrisy and a little more self-knowledge can only have good results in respect for our neighbour; for we are. all too prone to transfer to our fellows the injustice and violence we inflict upon our own natures.

A. 如果人類能被教育去更清楚地正視自己的陰暗面，或許就能更好地學習去瞭解和愛他們自己的同胞。少一點虛偽和多一點自我認識，對我們鄰居來說有好處，因為我們太容易讓自己的同胞遭受不公不義，及因我們天性而對他們施加的暴力。

B. 如果人們能被教育，去更清楚地正視自己天性的陰暗面，我們或許就能希望，他們也會學習去更加瞭解和愛他們自己的同胞。少一點虛偽和多一點自我認識，對我們鄰居來說，都會獲得好的結果。因為我們太容易將施加在我們自己天性的不公正與暴力，轉移到我們同胞身上。

The Freudian theory of repression certainly does seem to say that there are, as it were, only hypermoral people who repress their unmoral, instinctive natures. Accordingly，the unmoral man，who lives a life of unrestrained instinct, should be immune to neurosis.

A. 佛洛德的潛抑理論似乎是在說，只有過度道德的人才會去潛抑他們不道德及本能的天性；那麼，不道德且無所羈絆的人應該對精神官能症免疫。

B. 佛洛德的潛抑理論確實是在說，只有所謂過度要求道德的人，才會去潛抑他們不道德及本能的天性。因此，不道德的人，他們過著本能無拘無束的生活，理應對精神官能症免疫。

This is obviously not the case, as experience shows. Such a man can be just as neurotic as any other. If we analyse him, we simply find that his morality is repressed. The neurotic immoralist presents, in N ietzsche’s striking phrase, the picture of the “pale felon” who does not live up to his acts.

A. 根據經驗事實上則非如此。像這種人可以像其他人一樣神經質。如果我們分析這類人，會發現他們只是把道德部份給加以潛抑。以尼采令人注目的說法來講，神經質的不道德者如果沒有實踐他們的行為將呈現「蒼白的重刑犯(pal會發現他們只是把道德部份給加以潛抑。以尼采令人注目的說法來講，神經質的不道德者如果沒有實踐他們的行為將呈現「蒼白的重刑犯(pale felon)」。

B. 根據精神分析經驗顯示，情況顯而易見並非如此。這種人會是像其他人一樣，都是精神官能症患者。如果我們分析他，我們就是會發現，他的道德是受到潛抑。以尼采令人注目的詞語來講，精神官能症的不道德者，呈現的畫面是「罪惡感深重的罪犯」，因為他們沒有實踐他的行為。

We can of course take the view that the repressed remnants of decency are in this case only a traditional hang-over from in­fancy, which imposes an unnecessary check on instinctual nature and should therefore be eradicated. The principle of ecrasez l’infd.me would end in a theory of absolute libertinism.

A. 我們當然可以採取這樣的觀點也就是說，潛抑不過就是嬰兒遭遇傳統威脅的反應，而施加於本能天性一些不需要的檢查而已，也因此必須加以消滅。打倒邪惡(ecraser l’infame)的原則會埋葬在絕對自由主義的理論之中。

B. 我們當然可以採取這樣的觀點，也就是說，在這個情況，正當行為受到潛抑的殘餘物，僅是嬰兒時期的傳統殘餘物。這個殘餘物施加於本能天性一些不需要的檢查，也因此必須加以消除。打倒邪惡(ecraser l’infame)的原則，最後會產生絕對自由主義的理論。

Naturally, that would be quite fantastic and nonsew; it should never be forgotten–and of this the Freudian must be reminded–that morality was not brought down on the stone from Sinai and imposed on the people, but is a function of the human soul, as old as humanity itse1f (Morality is not im­posed from outside; we have it in ourselves from the start–not the law, but our moral nature without which the collective life of human society would be impossible.

A. 自然地，這不過是幻想且不切實際。永遠不要忘記，特別是佛洛德學派要記住，道德並不是像十誡的西奈山(Sinai)帶來的石頭一樣將律法強加於人們身上。道德是人類靈魂的涵數，其存在與人性一樣久遠。道德並非從外部強加進來，而是一開始我們自身就擁有──它不是法律，若沒有人類社會團體生活，則我們道德天性不可能存在

B. 自然地，這完全是幻想，而且不切實際。我們永遠不要忘記，特別是佛洛德學派必須要記住，道德並不是像摩西從西奈山(Sinai)帶下來的十戒石碑一樣，將律法強加於人們身上。道德是人類靈魂的功能，其存在與人性一樣久遠。道德並非從外部強加進來，而是一開始我們自身就擁有──它不是法律，而是我們的道德天性。若沒有這個道德天性，人類社會的團體生活不可能存在。

That is why morality is found at all levels of society. It is the instinctive regulator of action which also governs the collective life of the herd. But moral laws are valid only within a compact human group. Be­yond that, they cease.

A. 這就是為什麼我們可以發現道德在所有階層的社會都存在。它調節我們的行為，統禦著我們團體生活。道德律法只有在人類緊密的生活團體中才有效，若不是，則它們會消失

B. 這就是為什麼道德在所有階層的社會都被找到。它是我們行為的本能調節者，也統禦著群眾的團體生活。但是，只有在密集的人類團體中，道德律法才具有效用，在那個範圍之外，它們會停止功用。

There the old truth runs: Homo homini lupus. With the growth of civilization we have succeeded in subjecting ever larger human groups to the rule of the same morality, without, however, having yet brought the moral code to prevail beyond the social frontiers, that is, in the free space between mutually independent societies. There, as of old, reign lawlessness and licence and mad immorality–though, of course it is only the enemy who dares to say it out loud.

A. 有一句古語說的好：人相對於其他人就是一隻狼(Homo homini lupus)。隨著文明化的進程，我們成功地讓更多人類團體接受同樣的道德規範，但道德仍未能行於社會團體的邊疆地區，也就是，在互相獨立社會團體之間的空白區域。在那裡舊有的統治階層仍不受法律制約，在那裡瘋狂的非道德是合法的──當然誰敢指出這點，誰就是他們的敵人。

B. 有一句古老的箴言：對於其他人而言，人就是一隻狼(Homo homini lupus)。隨著文明化的進程，我們成功地讓更多人類團體接受同樣的道德規範。但是，我們仍未將道德的法典，能行使於社會團體的邊域之外。也就是，在互相獨立社會團體之間的自由領域。在那裡，如同古代一樣，無法無天，放蕩行為及傷風敗俗大行其道—雖然，當然誰敢公開指出這點，誰就是他們的敵人。

The Freudian school is so convinced of the fundamental, indeed exclusive, importance of sexuality in neurosis that it has drawn the logical conclusion and valiantly attacked the sexual morality of our day.

A. 佛洛德學派深信基本、獨一無二的性在精神官能症當中扮演的角色，也大力抨擊我們今日社會的性倫理。

B. 佛洛德學派是如此深信，精神官能症的性，具有這個基本而確實獨一無二的重要性，以致於他們獲得這個邏輯的結論，並且勇敢地攻擊我們這個時代性的道德。

This was beyond a doubt useful and neces­sary, for in this field there prevailed and still prevail ideas which in view of the extremely complicated state of affairs are too un­differentiated.

A. 有鑒於許多事情極為複雜且難以區分其差異性來源，無庸置疑的至今盛行著佛洛德的觀點在這一個領域相當重要。

B. 無可置疑地，這個結論是有用而且有必要。因為在這個領域，以前盛行一些觀念，現在依舊盛行。由於事情的極端複雜的狀態，這些觀念過於不分青紅皂白。

Just as in the early Middle Ages finance was held in contempt because there was as yet no differentiated financial morality to suit each case, but only a mass morality, so today there is only a mass sexual morality. A girl who has an illegiti­mate baby is condemned and nobody asks whether she is a de­cent human being or not.

A. 中世紀的資金問題令人不齒，因為當時並沒有所謂財政倫理來深入討論每個個案之間的差異性，卻只存在粗淺的倫理概念，正如同今日只有粗淺的性倫理一樣。一個女孩若有非婚生子女，她就會受到譴責，每個人都會認為她不是什麼正派人士。

B. 正如在中世紀早期，商業斂財令人不齒，因為當時並沒有所謂商業道德來深入討論，每個個案之間的差異性，卻只存在籠統的倫理概念，正如同今日只有籠統的性倫理一樣。一個女孩若有私生子女，她就會受到譴責，卻沒有人詢問，是否她具有正常人的性欲需求。

Any form of love not sanctioned by law is considered immoral, whether between worthwhile people or bounders. We are still so hypnotized by what happens that we forget how and to whom it happens, just as for the Middle Ages finance was nothing but glittering gold, fiercely coveted and therefore the devil.

A. 任何非經律法宣告的愛情都被視為不道德，不論物件是真的值得結婚的人又或是暴發戶。我們著迷於發生了什麼事，卻忘記了應該注意是如何發生、對誰發生，正如中世紀資金不就是一些閃亮的黃金罷了，只因它讓人極度的夢寐以求因此被視為惡魔。

B. 任何非經律法宣告的愛情，都被視為不道德，不論他們品行優良，或是敗德者。我們專注於發生了什麼事，卻忘記了應該注意是，它如何發生，發生在誰身上。正如對於中世紀，商業斂財不就是一些閃亮的黃金罷了，只因它讓人極度的垂涎，因此被視為惡魔。

Yet things are not quite so simple as that. Eros is a question–able fellow and will always remain so, whatever the legislation of the future may have to say about it. He belongs on one side to man’s primordial animal nature which will endure as long as man has an animal .But on the other side he is related to the highest forms of the spirit.

A. 但事情可沒這麼簡單。不論將來會怎麼立法，情愛永遠是個大問題。只要人類的身體仍然是動物，情愛就會有最原始獸性的一面。但情愛的另外一面則與人類最高等的靈性連結。
B. 但是，事情可沒這麼單純。性愛永遠是一位善於詢問問題的人，也將來還始終是這樣的人，不論未來的立法如何定義它。在某方面，他屬於人類原始的動物天性，這個動物天性將會持續存在，只要人類的身體仍然是動物。但是在另外一面，他則與人類最高等的靈性息息相關。

But he thrives only when spirit and instinct are in right harmony. If one or the other aspect is lack­ing to him, the result is injury or at least a lopsidedness that may easily veer towards the pathological. Too much of the ani­mal distorts the civilized man, too much civilization makes sick 1 animals.

A. 情愛只能在當靈性與本能和平共處的情況下存在，若兩者缺少其一，將造成傷害或至少生病的方向進行。太多的獸性會扭曲一個文明人，太過於文明則讓一個動物生病；
B. 只當靈性與本能和諧共處的情況下，他才會蒸蒸日上。若他身上兩者缺少其一，結果將是傷害，或至少是一種扭曲。這種扭曲很容易朝向病態的方向進行。太多的動物性會扭曲一個文明人，太過於文明則造成生病的動物。
This dilemma reveals the vast uncertainty that Eros holds for man. For, at bottom, Eros is a superhuman power which, like nature herself, allows itself to be conquered and exploited as though it were impotent. But triumph over nature I is dearly paid for. Nature requires no explanations of principle, I but asks only for tolerance and wise measure. ‘

A. 這種矛盾顯示出情愛的存在對於人類的不確定性。如同大自然一般，情愛也擁有超人類的力量，它可以像是無能地，容許自己被征服、被剝削，只不過征服自然是需要付出代價的。自然的存在不需要原則，它只求包容及智慧。

B. 這種困境顯示,情愛的存在對於人類具有的不確定性。因為，追根究底，情愛擁有超人類的力量，像大自然的本身，它容許自己被征服與被剝削，好像它無能為力。但是，征服大自然是需要付出昂貴代價的。大自然的存在不需要原則來解釋，它只要求包容及明智的尊重。

“Eros is a mighty daemon,” as the wise Diotima said to Socrates. We shall never get the better of him, or only to our own hurt. He is not the whole of our inward nature, though he is at least one of its essential aspects.

A. 智慧哲人迪歐堤瑪(Diotima)曾對蘇格拉底(Socrates)說：「情愛是強大的惡魔」。我們永遠別想贏它，否則只會自己受傷而已。雖然它不是我們全部的天性，但至少是最重要的一部份。

B. 智慧哲人迪歐堤瑪(Diotima)曾對蘇格拉底(Socrates)說：「情愛是強大的惡魔」。我們永遠別想戰贏他，否則只會造成我們自己的傷害而已。雖然他不是我們內在天性的全部，但至少他是它最重要層面的一部份。

Thus Freud’s sexual theory of neurosis is grounded on a true and factual principle. But it makes the mistake of being one-sided and exclusive; also it com­mits the imprudence of trying to lay hold of unconfinable Eros with the crude terminology of sex.

A. 因此佛洛德精神官能症的性理論是基於真理及事實的原則，但犯了一個錯誤，就是認為它單向的且獨一無二的，而輕率地將沒有範圍的情愛(eros)魯莽地以性(sex)這個名詞來稱呼。

B. 因此，佛洛德有關精神官能症的性的理論，是以真理及事實的原則為基礎。但這個理論犯了一個錯誤，就是它是單方面強調，而且排除其它因素。它也犯了輕率之過，嘗試將無法限制的情愛(eros)，以性(sex)這個輕浮名詞來稱呼。

In this respect Freud is a typical representative of the materialistic epoch, whose hope it was to solve the world riddle in a test-tube. Freud himself, with advancing years, admitted this lack of balance in his theory, and he opposed to Eros, whom he called libido, the destructive or death instinct.4 In his posthumous writings he says:

A. 佛洛德是唯物主義時代一位典型的代表人物 ，在這個時代每個人都以為可以將難解的謎題放入試管中就加以解決。佛洛德在晚年自己也承認在這個理論缺少平衡，相對於情愛（他稱為性欲(libido)）來說，他提出毀滅或死亡本能的理論 。在他死後出版的著作提到：

B. 在這一方面，佛洛德是唯物主義時代一位典型的代表人物 ，這個時代的希望就是，要以試管試驗來解決世界的謎題。佛洛德自己，在晚年也承認，他的這個理論缺少平衡。相對於情愛（他稱為性欲(libido)）來說，他提出毀滅或死亡本能的理論 。在他死後出版的著作，他提到：

After long hesitancies and vacillations we have decided to assume the existence of only two basic instincts, Eros and the destructive instinct …. The aim of the first of these basic instincts is to estab­lish ever greater unities and to preserve them thus-in short, to bind together; the aim of the second is, on the contrary, to undo connections and so to destroy things …. For the reason we also call it the death instinct.

A. 經過長期的躊躇及猶豫，我們決定假設有兩種基本本能，情愛和毀滅本能。…這些基本本能的第一種，它的目的是在於建立和諧而讓他們生存因此──簡言之就是綁在一起；第二種的目的，剛好相反，是去除連結而破壞事物。…因為這個原因我們又稱它叫死亡本能。

B. 經過長期的躊躇及猶豫，我們決定假設僅有兩種基本本能存在，情愛和毀滅本能。 這些基本本能的第一種，它的目的是在於建立更多的和諧，而因此能保存它們。簡言之，就是將它們約束在一起。第二種的目的，剛好相反，是去除它們的結合，而因此破壞事物。…因為這個原因,我們又稱它叫死亡本能。

I must content myself with this passing reference, without entering more closely into the questionable nature of the con­ception. It is sufficiently obvious that life, like any other process, has a beginning and an end and that every beginning is also the beginning of the end. What Freud probably means is the essen­tial fact that every process is a phenomenon of energy, and that all energy can proceed only from the tension of opposites.

A. 我必須先滿足於過去這些參考資料，而不去探討這些是不是有些問題。很顯然地生命正如同其他的程式(process)一樣，它有開始也有結束，但結束亦是另一個開始。佛洛德可能是在告訴我們一個基本事實，也就是每個過程都是能量的現象，而所有能量都只能在極度的張力下才能夠進行

B. 我必須滿足於這個權宜的參考指稱，而不去更加仔細探討這個觀念問題重重的特性。顯而易見地，正如同其他的過程(process)，生命有開始，也有結束。而且，每次的開始，也就是這種結束的開始。佛洛德可能是在告訴我們一個基本事實：只有憑藉對立能量的緊張，所有的能量才能繼續下去。

C.

Carl Jung 卡尔 荣格

Carl Jung 卡尔 荣格
Two Essays on Analytical Psychology
分析心理学的两篇论文
雄伯订正翻译

I
精神分析(PSYCHOANALYSIS)

If he wants to help his patient, the doctor and above all the “ specialist for nervous diseases” must have psychological knowledge;
for nervous disorders and all that is embraced by the terms “ nervousness,” hysteria, etc., are of psychic origin and therefore logically require psychic treatment.

A. 因為神經疾患(nervous disorders)及所有包含在「神經緊張(nervousness)」底下的名詞如「歇斯底里」（hysteria），都是根源於心理（psychic），邏輯上來說它們都需要心理治療，因此醫師及神經疾病(nervous diseases)的專家必須擁有心理學知識才能幫助病人。
B. 假如他想要帮助他的病人，医生，尤其是「精神疾病的专家」，必须要具备有心理学的的知识。因为精神疾病，以及被包括在诸如歇斯底里症等「神经症」这个术语的精神疾病，都起源于心理因素。因此，顺理成章，它们都需要心理治疗。

Cold water, light, fresh air, electricity, and so forth have at best a transitory effect and sometimes none at all.

A. 冷水、光、新鮮空氣、電等頂多只是短暫存在的物理現象，有時候甚至完全消失。
B. 冷水，光，新鲜空气，电击等疗法，充其量有短暂的疗效，有时根本没有疗效。

The patient is sick in mind, in the highest and most complex of the mind’s functions, and these can hardly be said to belong any more to the province of medicine. Here the doctor must also be a psychologist, which means that he must have knowledge of the human psyche.

A. 專司最高位也最複雜的心理功能很難界定屬於哪個領域的醫學，因此病人心理一旦生病，治療病人的醫師也得同時是一個擁有人類心理知識的心理師。
B. 病人的心理出了毛病，是心灵最高及最复杂的功用出了毛病。这些功用很难再说是归属于医学的领域。在此，医生必须也是一位心理学家。这意味着， 他必须拥有关于人类心理的知识。

In the past, that is to say up to fifty years ago, the doctor’s psychological training was still very bad. His psychiatric text¬books were wholly confined to clinical descriptions and the sys¬tematization of mental diseases, and the psychology taught in the universities was either philosophy or the so-called “experimen¬tal psychology” inaugurated by Wundt.1

A. 在過去至少五十年之前，醫師的心理專業訓練可說乏善可陳。精神教科書僅限於臨床描述及心理疾患的系統化，在大學教授的心理學是「哲學」，不然就是馮特(Wundt) 所創所謂的「實驗心理學」。
B. 在过去，也就是直到五十多年前，醫師的心理專業訓練仍然乏善可陳。精神病学的教科书，完全局限于临床描述及精神疾病的系统化。在大学所教导心理学，要就是哲学，要不就是由温得特所开创的所谓的「实验心理学」。

The first moves to¬wards a psychotherapy of the neuroses came from the Charcot school, at the Salpetriere in Paris; Pierre Janet2 began his epoch-making researches into the psychology of neurotic states, and Bernheim3 in Nancy took up with great success Liebeault’s4 old and forgotten idea of treating the neuroses by suggestion.

A. 由位於巴黎Salpetriere的查可(Charcot)學派針對神經質(neuroses)個案首創心理治療；皮爾簡納(Pierre Janet) 則對在神經質狀態(neurotic)之心理學開創具劃時代意義的研究，而在盧森堡(Nancy)的伯恩罕(Bernheim) 則繼承利布萊特(Liebeault) 以「暗示」來治療精神官能症個案──一個古老且早已遺忘的方式。
B. 針對神經症首創的心理治療，来自位於巴黎Salpetriere的查可(Charcot)學派；皮爾簡納(Pierre Janet) 則是开始他具有劃时代意义的研究，對于神經症病状的心理学，而在盧森堡(Nancy)的伯恩罕(Bernheim) 則是非常成功地繼承利布萊特(Liebeault) 以「暗示」來治療精神官能症個案──一個古老且被遺忘的方式。

Sigmund Freud translated Bernheim’s book and also derived valuable inspiration from it. At that time there was still no psy¬chology of the neuroses and psychoses.

A. 西格蒙德弗洛伊德(Sigmund Freud)翻譯伯恩罕的書也從中獲得極具價值的啟發，當時仍沒有精神官能症及精神病(psychoses)相關的心理學。
B. 西格蒙德，弗洛伊德(Sigmund Freud)翻譯伯恩罕的書，也從中獲得極具價值的啟發。在當時，仍然沒有精神官能症及精神病(psychoses)相關的心理學。

To Freud belongs the undying merit of having laid the foundations of a psychology of the neuroses. His teachings sprang from his experience in the practical treatment of the neuroses, that is, from the application of a method which he called psychoanalysis.

A. 弗洛伊德的不朽價值乃在於為精神官能症心理學奠定了基礎。他的教學源自於他實際治療精神官能症個案的經驗，也就是一種他稱之為「精神分析」的應用方式。
B. 归功于弗洛伊德的不朽贡献，乃在於為精神官能症心理學奠定了基礎。他的教學源自於他實際治療精神官能症個案的經驗，也就是，源自於一種他稱之為「精神分析」的應用疗法。

Before we enter upon a closer presentation of our subject, something must be said about its relation to science as known hitherto. Here we encounter a curious spectacle which proves yet again the truth of Anatole France’s remark: “Les savants ne sont pas curieux.”

A. 在我們進一步介紹我們的主題之前，我們要先說明迄今我們所知道它與科學之間的關係，我們在這遇到了一個有趣的事實──足以證明法朗士(Anatole France)所說的真話：「科學家們並不好奇(Les savants nesont pas curieux)」。
B. 在我們進一步介紹我們的主題之前，我們要先說明迄今我們所知道它與科學之間的關係。我們在此遭遇到一個耐人寻味的景象──再一次證明法朗士(Anatole France)的评论千真万确：「科學家們並不好奇(Les savants nesont pas curieux)」。

The first work of any magnitude5 in this field awakened only the faintest echo, in spite of the fact that it intro¬duced an entirely new conception of the neuroses. A few writers spoke of it appreciatively and then, on the next page, proceeded to explain their hysterical cases in the same old way.

A. 基本上在這個領域所作的最領先的研究 幾乎無法喚醒任何的迴響，儘管弗洛伊德介紹了精神官能症全新的觀念，有些作家在談到精神官能症時雖然非常的重視它，但是書本翻過來的隔一頁他們卻仍用舊有的思維來介紹他們歇斯底里的個案。
B. 在這個領域，早期具有任何份量的研究 仅博得些微的迴響，儘管事实上，它们介紹了精神官能症全新的觀念。有些作家談到精神官能症，雖然非常赞赏有加，但是書本翻過來的隔一頁，他們卻仍用舊有的思維來介紹他們歇斯底里的個案。

They be¬haved very much like a man who, having eulogized the idea or fact that the earth was a sphere, calmly continues to represent it as flat. Freud’s next publications remained absolutely unno-ticed, although they put forward observations which were of in¬calculable importance for psychiatry.

A. 他們表現就好像主張地球是一個球體，卻持續將地球以平面的方式呈現。儘管弗洛伊德的觀察已為精神醫學帶來無以計數的重要性，但他的幾本著作仍乏人注意。
B. 他們的表現，就好像一个人赞扬地球是一個球體的观念或事实，卻泰然自若地继续將地球作为平面在应用。儘管弗洛伊德提出的觀察，对于精神醫學，具有無以計數的重要性，但他的随后幾本著作完全乏人注意。

When, in the year 1900, Freud wrote the first real psychology of dreams6 (a proper Sty¬gian darkness had hitherto reigned over this field), people be¬gan to laugh, and when he actually started to throw light on the psychology of sexuality in 1905,7 laughter turned to insult. And this storm of learned indignation was not behindhand in giving Freudian psychology an unwanted publicity, a notoriety that extended far beyond the confines of scientific interest.

A. 1900年的時代弗洛伊德曾寫了第一本真正有關夢的心理學 （其陰森黑暗的本質迄今仍統治著這個領域），人們於是開始訕笑，但當佛洛伊德真正開始在1905年 進一步闡釋性的心理學，人們從訕笑轉成侮辱。
B. 在1900年，弗洛伊德寫了第一本真正有關夢的心理學 ，（内容的陰森黑暗，迄今仍統治著這個領域）。人們於是開始訕笑，但是在1905年，當佛洛伊德真正開始 闡明有关性爱心理學，人們從訕笑轉成侮辱。

And this storm of learned indignation was not behindhand in giving Freudian psychology an unwanted publicity, a notoriety that extended far beyond the confines of scientific interest.

A. 而這場憤怒的風暴並沒有帶給弗洛伊德的心理學任何知名度，事實上它帶來的惡名昭彰遠超越人們對科學範疇的興趣。
B. 而随这场对于异端邪说感到愤怒的风暴以惧来的，是佛洛伊德的心理学博得料想不到的名声，恶名昭彰的名声，延伸到科学内行领域以外的人都晓得。

Accordingly we must look more closely into this new psychology. Already in Charcot’s time it was known that the neurotic symptom is “ psychogenic,”i.e., originates in the psyche.

A. 因此我們必須對新心理學看得更仔細。在查可的年代，精神官能症確實是源於心理所生(psychogenic)。
B. 因此，对于这种新心理学，我们必须更加仔细地审视。在恰可精神病学的时代，众所周知，精神官能症是「心因性」，也就是说， 它起源于心理。

It was also known, thanks mainly to the work of the Nancy school, that all hysterical symptoms can be produced through suggestion. Equally, something was known, thanks to the researches of Janet, about the psychological mechanisms that produce such hysterical phenomena as anaesthesia, paresia,paralysis, and amnesia.

A. 由於盧森堡學派的研究，我們亦知所有歇斯底里的症狀可以透過暗示而被創造出來。同樣地由簡納的研究，我們知道像歇斯底里現象的心理機轉也可以透過麻醉、輕癱、麻痺及失憶製造出來。
B. 我们也知道，由于南西暗示学派的研究，所有的歇斯底里病征都能够透过暗示产生出来。同样地， 由于简纳特的研究，我们略有所知，对于产生歇斯底里现象的心理的机制，诸如感觉麻木，轻微瘫痪，麻痹，及失忆。
C.
Produce 的主词是the psychological mechanisms
Produce的受词是such hysterical phenomena as anaesthesia, paresia,paralysis, and amnesia.

But it was not known how an hysterical symptom originates in the psyche; the psychic causal connections were completely unknown. In the early eighties Dr. Breuer, an old Viennese prac¬titioner, made a discovery which became the real starting-point for the new psychology.

A. 但我們不知道的是歇斯底里的症狀如何源自於心理(psyche)；它與心理之間的因果關係是全然未知的。在80年代的早期維也納的一個內科醫師布魯爾(Breuer)，有了一項發現而這是新心理學的真正起點。
B. 但我們不知道的是，歇斯底里的症狀如何源自於心理；我们完全不知道心理的因果關係。在80年代的早期，維也納的一個內科醫師布魯爾(Breuer)，有了一項發現，這才是新心理學的真正起點。

He had a young, very intelligent woman patient suffering from hysteria, who manifested the following symptoms among others: she had a spastic (rigid) paralysis “of the right arm, and occasional fits of absentmindedness or twi¬light states; she had also lost the power of speech inasmuch as she could no longer command her mother tongue but could only express herself in English (systematic aphasia).

A. 當時他有一位年輕、聰慧的女性病患罹患了歇斯底里症，其表現症狀如下：右手臂僵直性麻痺，意識有時處於心不在焉或進入朦朧狀態(twilight states)，在語言上也失去說話的能力，無法使用母語，充其量只能用英語表達（系統性失語，systematic aphasia）。
B. 當時他有一位年輕、聰慧的女性病患罹患了歇斯底里症。这位病患显现以下的症狀：右手臂僵直性麻痺，意識有時處於心不在焉或進入朦朧狀態(twilight states)，在語言上也失去說話的能力，無法使用母語，充其量只能用英語表達（系統性失語，systematic aphasia）

They tried at that time to account for these disorders with anatomical theories, although the cortical centre for the arm function
was little disturbed here as with a normal person. The psymptomatolity of hysteria is full of anatomical impossibilities.

A. 儘管當時病患控制手臂功能的大腦皮質中心與常人無異，醫師仍試著以解剖學的理論來解釋這些症狀。但歇斯底里在症狀學上用「解剖學」來看是完全無法解釋的。
B. 当时他们尝试用解剖学理论来解释疾病，虽然大脑皮质核心对于手臂的功用，在此几乎没有受到干扰，如同正常人无异。歇斯底里症的病征，从解剖学理论解释，处处窒碍难行。

One lady, who had completely lost her hearing because of hysterical affection, often used to sing.
A. 另一位女士因為歇斯底里情緒而完全失去她的聽力。
B. 有一位女士过去时常唱歌，但是因为歇斯底里的情绪而完全丧失听力。

Once, when she was singing ,her doctor seated himself unobserved at the piano and softly accompanied her.

A. 一次這位女士正在唱歌，醫師則坐在鋼琴旁以柔和的琴聲陪著她；
B. 有一次，当她正在唱歌，她的医生没引起注意地坐在钢琴旁边，柔和地为她伴奏。

In passing from one stanza to the next he made a sudden change of key, whereupon the patient, without noticing it, went on singing in the changed key. Thus she hears-and does not hear.

A. 在樂章的某一小節到下一小節間，醫師改變了曲調(key)，而病人竟然沒有意識到而繼續以已改變的曲調哼唱著。因此她能夠聽──只是她不聽。
B. 在樂章的某一小節到下一小節間，醫師改變了音调。病人虽然沒有注意，却配合改變的音调继续唱著。因此她事实上是听进去─只是她装著没听到。

The various forms of systematic blindness offer similar phe¬nomena: a man suffering from total hysterical blindness recov¬ered his power of sight in the course of treatment, but it was only partial at first and remained so for a long time. He could see everything with the exception of people’s heads. He saw all the people round him without heads. Thus he sees-and does not see

A. 不同形式的系統性盲目(systematic blindness)症狀有相同的現象：有一位罹患「歇斯底里全盲」的男士在治療過程中恢復視力，但在治療一開始只恢復部份視力且像這樣持續一段很長的時間。基本上除了人的「頭」之外他能看到所有的東西。也就是說，他看到周遭的人們全都是沒有頭。他可以看──只是他不看。
B. 各种形式的系統性盲目(systematic blindness)症狀，提供相同的現象：有一位罹患「歇斯底里症状的全盲」的男士，在治療過程中恢復視力，但是起初只恢復部份視力，而且像這樣持續一段很長的時間。他什么都能看见，就是看不见人的头。他看见他四周所有的人，但是没看到头。因此，他具有看见的能力，但是装著没看见。

From a large number of like experiences it had been con¬cluded that only the conscious mind of the patient does not see and hear, but that the sense function is otherwise in working or¬der. This state of affairs directly contradicts the nature of an organic disorder, which always affects the actual function as well.

A. 從大量類似的經驗我們可以做出結論，病人的意識心(conscious mind)看不見也聽不到，但感官功能其實是正常的。這種狀況與所知的器質性疾患(organic disorders)不同，因器質性疾患一定也同時會影響實際的感官功能。
B. 從许多類似的經驗，我們可以做出結論。 仅是病人的意識心(conscious mind)看不見，也聽不到，但感官功能在其它方面是正常的。這種狀況與器質性疾患(organic disorders)的性质，截然互相牴触，因为器質性疾病总是也會影響實際的感官功能。
Otherwise 其它方面

After this digression, let us come back to the Breuer case. There were no organic causes for the disorder, so it had to be regarded as hysterical, i.e., psychogenic. Breuer had observed that if, during her twilight states (whether spontaneous or arti¬ficially induced), he got the patient to tell him ,of the reminis¬cences and fantasies that thronged in upon her, her condition was eased for several hours afterwards.

A. 在剛才的說明後，我們回到布魯爾的個案。因為找不到器質性原因，所以她的症狀被視為歇斯底里，也就是心理所產生的症狀。布魯爾觀察到當病人意識處於朦朧狀態(不論是自然產生或假裝的)，他叫病人向醫師說出擠滿在病患腦中的回憶與幻想，然後幾小時後病患的狀況就緩解了。
B. 在离题說明後，让我們回到布魯爾的個案。因為这个疾病并没有器質性原因，它必须被視為歇斯底里症，也就是心理所產生的症狀。布魯爾觀察到，當病人意識處於朦朧狀態时，(不論是自发，或是人为诱导)，假如他叫病人向醫師說出擠滿在病患腦中的回憶與幻想，经过幾小時後，病患的狀況就会緩解。

He made systematic use of this discovery for further treatment. The patient devised the name “talking cure” for it or, jokingly, “chimney-sweeping.”

A. 布魯爾將這項發現系統性的應用於治療當中，他的病患為這項治療設計了一個名字叫「說話治療」(talking cure)，或又戲謔地稱為「掃煙囪」(chimney-sweeping)。
B. 布魯爾將這項發現，系統性地應用於更进一步的治療，这位病患為這項治療构想一個名字，叫「說話治療」(talking cure)，或又戲謔地稱為「掃煙囪」(chimney-sweeping)。

The patient had become ill when nursing her father in his fatal illness. Naturally her fantasies were chiefly concerned with these disturbing days.

A. 這位病患在照顧罹患致命疾病的父親時，自己又再度生病了。很自然地，她說出來的幻想主要與這段讓她困擾日子有關。
B. 這位病患在照顧罹患致命疾病的父親時，自己的症状再度发作。很自然地，她的幻想主要與這段讓她困擾日子有關。

Reminiscences of this period came to the surface during her twilight states with photographic fidelity; so vivid were they, down to the last detail, that we can hardly as¬sume the waking memory to have been capable of such plastic and exact reproduction.

A. 在她意識處於朦朧狀態時，這段時期的回憶正如照片般寫實地浮上檯面，如此的栩栩如生且鉅細靡遺；相反地，若在她清醒時的記憶，我們很難相信她也能如此精確的去刻畫而重現過去的回憶。

B. 在她意識處於朦朧狀態時，這段時期的回憶正如照片般寫實地浮上檯面。它们是如此的栩栩如生，且鉅細靡遺。若在她清醒時的記憶，我們很難相信，它们也能如此灵活而精确地复制。

(The name “hypermnesia” has been given to this intensification of the powers of memory which not infrequently occurs in restricted states of consciousness.) Re¬markable things now came to light. One of the many stories told ran somewhat as follows:

A. （「過度記憶(hypermnesia)」這個名詞專指記憶力的增強，這在病人意識處於侷限狀態中不算罕見。）在許多故事中，處於這種狀態下顯著的事物會被揭露出來，其中之一有點像是下面所述：
B. （「過度記憶(hypermnesia)」這個名詞，專指記憶力的增強，這在病人意識處於侷限狀態时，经常发生。） 引人注意到事实现在真相大白。其中有一个被述说的故事，有點像是下面所述：

One night, watching by the sick man, who had a high fever, she was tense with anxiety because a surgeon was expected from Vienna to perform an operation.

A. 有一個晚上，有位病患，安娜，她被一個發高燒的男子所守衛著。一位來自維也納的醫師即將為她動手術，所以她非常的緊張、焦慮。
B. 有一个晚上，安娜坐在这个发高烧的病人旁边守护， 她充满焦虑，因为有一位从维也纳来的外科医生预期要病人动手术。
C.
Watching 是主动，被动语态是being watched
by 是旁边，不是被动的「所」
要被动手术是男病人，而非安娜

Her mother had left the room for a while, and Anna, the patient, sat by the sick-bed with her right arm hanging over the back of the chair. She fell into a sort of waking dream in which she saw a black snake coming, appar¬ently out of the wall, towards the sick man as though to bite him.

A. 她母親離開房間一會，而這位病患，她把自己的右手臂掛在椅背後，坐在病床旁。她似乎陷入某種白日夢中，她看到一隻黑色的蛇，很顯然是從牆壁穿了過來，朝向生病的男子，彷彿像是要咬他一般。
B. 她母親離開房間一會，而安娜這位病患，坐在病床旁，她把自己的右手臂垂悬在椅背後。她似乎陷入某種白日夢。在梦中，她看到一隻黑色的蛇，很顯然是從牆壁穿了過來，朝向生病的男子，彷彿像是要咬他一般。

(It is quite likely that there really were snakes in the meadow at the back of the house, which had already given the girl a fright and which now provided the material for the hal¬lucination.)

A. （很可能屋子後方的草坪真的有蛇曾經嚇過這位女士，而成為幻覺的素材）
B. （很有可能，在屋子後方的草坪，真的有蛇曾經嚇過這位女士，现在这些蛇成為幻覺的素材）

She wanted to drive the creature away, but felt paralysed; her right arm, hanging over the back of the chair, had “gone to sleep”: it had become anaesthetic and paretic, and, as she looked at it, the fingers changed into little serpents with death’s-heads. Probably she made efforts to drive away the snake with her paralysed right hand, so that the anaesthesia and paralysis became associated with the snake hallucination.

A. 她希望把蛇趕走，卻覺得麻痺，她掛在椅背的右手似乎睡著了：它已經被麻醉而輕癱，且當她看著它時，手指頭變成多隻有個死神頭的小蛇。或許她盡力用麻痺的右手去驅趕這些蛇，因此麻醉和麻痺狀態開始與蛇幻覺產生連結。
B. 她想要把蛇趕走，卻覺得麻痺，她垂悬在椅背的右手，似乎「已经沉沉入睡」：它已經被麻醉而輕癱，而且當她看著它時，手指頭變成多隻具有死神之頭的小蛇。或許她盡力用麻痺的右手去驅趕這些蛇，因此麻醉和麻痺狀態開始與蛇的幻覺產生联想。

When the snake had disappeared, she was so frightened that she wanted to pray; but all speech failed her, she could not utter a word until finally she remembered an English nursery rhyme, and then she was able to go on thinking and praying in English.

A. 當蛇消失時，她仍止不住害怕因此想要禱告，卻發現什麼話也說不出，甚至連一個字也講不出口，到最後她終於記得英國籍看護的語韻，於是她能夠繼續思考並用英語來祈禱。
B. 当蛇消失时，她如此地害怕，以致于她想要祷告。但是她丧失说话能力，她一句话也说不出来，直到最后她想起一首英语的摇篮曲。然后她才能够继续用英文来思考及祷告。
Nursery rhyme 摇篮曲

Such was the scene in which the paralysis and the speech disturbance originated, and with the narration of this scene, the disturbance itself was removed. In this manner, the case is said to have been finally cured.

A. 像這樣麻痺及言語困難的畫面透過醫師的解讀後，症狀就被移除了。這個個案最終是治癒的。
B. 麻痹及语言失常起因的场景，就是这样。经过对于这个场景的说明之后， 失常症状就被解除。 以这种方式， 这个病例据说最终是被治愈。

I must content myself with this one example. In the book I have mentioned by Breuer and Freud there is a wealth of similar examples. It can readily be understood that scenes of this kind make a powerful impression, and people are therefore inclined to impute causal significance to them in the genesis of the symp¬8tom. [Cf. Breuer and Freud, pp. 38f.]

A. 我同意以這個個案當作一個範例。在本書中我曾提到布魯爾及弗洛伊德有許多類似的個案，我們可以理解像這樣的畫面會給人強烈的印象，且人們常將症狀的產生賦予因果關係。
B. 我满意以這個個案當作一個範例。在本書中我曾提到，布魯爾及弗洛伊德有許多類似的個案。我們很容易理解，像這樣的场景會产生強烈的印象，而且在病症的起源学，人們经常將这些场景賦予因果關係的意义。

The view of hysteria then current, which derived from the English theory of the “nervous shock” energetically championed by Charcot, was well qualified to explain Breuer’s discovery. Hence there arose the so-called trauma theory, which says that the hysterical symptom, and, in so far as the symptoms constitute the illness, hysteria in general, derive from psychic injuries or traumata whose imprint persists unconsciously for years.

A. 從查可大力倡導的英國「神經震撼(nervous shock)」理論衍生的歇斯底里觀點足以解釋布魯爾的發現。由此產生所謂的創傷理論，也就是說歇斯底里的症狀整體來說是來自於心理傷害或多年前烙印在潛意識中的創傷。
B. 從查可大力倡導的英國「神經震撼(nervous shock)」理論，衍生的对于歇斯底里症的目前盛行的觀點，有充分资格用来解釋布魯爾的發現。由此產生所謂的創傷理論主张說：歇斯底里的症狀，就构成疾病的病征而言，一般的歇斯底里症，是來自於心理傷害，或多年前的创伤的烙印，潛意識地持续存在。

Freud, now collaborating with Breuer, was able to furnish abundant confirmation of this discovery. It turned out that none of the hundreds of hysterical symptoms arose by chance-they were al¬ways caused by psychic occurrences.

A. 弗洛伊德和布魯爾提供許多案例而更肯定了這項發現。原來數以百計的歇斯底里症狀沒有一個是偶然發生的──它們總是肇因於心理事件。
B. 弗洛伊德现在跟布魯爾合作，对于這項發現，他能够供应充分的验证。结果证明，數以百計的歇斯底里症狀，沒有一件是偶然發生的──它們總是肇因於心理事件。

So far the new conception opened up an extensive field for empirical work. But Freud’s inquiring mind could not remain long on this superficial level, for already deeper and more difficult problems were beginning to emerge.

A. 截至目前為止，新的想法為這種以經驗為根據的工作打開了更廣泛的視野。但弗洛伊德的好奇心無法停留在此一層級，因為現在出現了更深層且更困難的問題。
B. 截至目前為止，这个新的想法為实验性的研究，展開了廣泛的視野。但弗洛伊德喜欢穷究到底的心灵無法停留在这个肤浅的層級，因為更深層且更困難的問題渐渐开始出现。

It is obvious enough that moments of extreme anx¬iety such as Breuer’s patient experienced may leave an abiding impression. But how did she come to experience them at all, since they already clearly bear a morbid stamp? Could the strain of nursing bring this about? I

A. 很顯然地像布魯爾的病人經歷的症狀是極度焦慮的狀態，既然這些症狀已經為病人貼上一個有病的標籤，那麼到底她是怎麼體驗這些感覺？難道是護士照護過度導致這些症狀產生？
B. 显而易见地，极端焦虑的时刻，诸如布魯爾的病人經歷的，可能会留下永久的印象。但是，既然这些时刻已经清楚地具有病态的标志，她是如何渐渐经验到這些时刻？難道是作为護士照護压力導致发生？

If so, there ought to be many more occurrences of the kind, for there are unfortunately very many exhausting cases to nurse, and the nervous health of the nurse is not always of the best. To this problem medicine gives an excel¬lent answer: “The x in the calculation is predisposition.” One is just “predisposed” that way.

A. 果真如此的話，更多像這樣的例子應該層出不窮，因為這些個案讓護士的心力極度耗竭，護士因而緊繃的神經並非總能維持最佳的健康狀態。
B. 果真如此的話，更多像這樣的例子應該層出不窮，因為不幸地，讓護士心力極度耗竭的案例很多，護士的緊繃的神經，並非總能維持最佳的健康狀態。

To this problem medicine gives an excel¬lent answer: “The x in the calculation is predisposition.” One is just “predisposed” that way. But for Freud the problem was: what constitutes the predisposition?

A. 對這個問題，在醫學上有個非常好的答案就是「算式中未知的x值-『體質』(predisposition)」。一個人之所以會如此，只不過因為她有這種「體質」。但弗洛伊德的問題是：什麼組成了這種「體質」。
B. 對這個問題，醫學给予一个非常好的答案：「算式中未知的x值，那就是「先天體質』(predisposition)」。一個人之所以會如此行为，仅是因為她具有這種「體質」。但对于弗洛伊德，这个問題是：什麼組成了這種「先天體質」？

This question leads logi¬cally to an examination of the previous history of the psychic trauma. It is a matter of common observation that exciting scenes have quite different effects on the various persons in¬volved, or that things which are indifferent or even agreeable to one person arouse the greatest horror in others-witness frogs, snakes, mice, cats, etc.

A. 邏輯上這個問題必須去檢視病患之前的心理創傷史。相同的刺激場景，對不同的人常見有不同的效應。同樣一件事情對有些人可能毫不在乎，或者相當認同就是應該這樣；但在另一群人身上卻會造成極大的驚恐──例如看見青蛙、蛇、老鼠或貓等。
B. 邏輯上這個問題导致必須去檢視病患先前的心理創傷史。普遍观察到的是：相同的刺激場景，對牵涉的不同的人，常見有不同的影响。同樣一件事情，對有些人可能毫不在乎，或者甚至还觉得处之泰然；但在另一群人身上卻會造成極大的驚恐─例如看見青蛙、蛇、老鼠或貓等。

There are cases of women who will assist at bloody operations without turning a hair, while they tremble all over with fear and loathing at the touch of a cat.

A. 有些女性在充滿血腥的手術中可以擔任助理而面不改色，但要她們摸一隻貓她們卻會害怕到發抖。
B. 有些女性在充滿血腥的手術中，可以擔任助理而面不改色，但要她們摸一隻貓，她們卻會害怕及憎恶到全身發抖。

I remember a young woman who suffered from acute hysteria following a sudden fright.9 She had been to an evening party and was on her way home about midnight in the company of several acquaint¬ances, when a cab came up behind them at full trot. The others got out of the way, but she, as though spellbound with terror, kept to the middle of the road and ran along in front of the horses.

A. 我還記得有位罹患急性歇斯底里症的年輕女士發生突然的驚恐狀態 。在午夜時她參加完一場晚會後與數名朋友一同在回家的路上，有一輛馬車在她們後方全力加速疾駛。其他朋友們趕緊跳到路旁，但她彷彿被下了驚恐咒一般仍站在路的中央且竟然在馬兒的前方奔跑。
B. 我還記得有位罹患急性歇斯底里症的年輕女士，發生突然的驚恐狀態 。在午夜時，她參加完一場晚會後，與數名朋友一同在回家的路上。有一輛馬車从她們後方疾駛而来。其他朋友們趕緊跳到路旁，但她彷彿被下了驚恐咒一般，仍站在路的中央，而且竟然在馬兒的前方奔跑。

The cab man cracked his whip and swore; it was no good, she ran down the whole length of the road, which led across a bridge. There her strength deserted her, and to avoid being trampled on by the horses she would in her desperation have leapt into the river had not the passers-by prevented her.

A. 馬夫一邊揮鞭一邊咒罵著，她仍繼續沿著路往前跑了好長一段，穿過了一座橋後，她才精疲力竭停下。若非行人阻止她，為了防止被疾駛而來的馬兒踩過，她會在絕望下立刻跳進河中。
B. 馬夫一邊揮鞭，一邊咒罵著，可是没有用途，她仍繼續沿著路，往前跑了好長一段，穿過了一座橋。在那里，她才精疲力竭停下。若非行人阻止她，為了防止被疾駛而來的馬兒踩過，她本来會在絕望下跳進河里。

Now, this same lady had happened to be in St. Petersburg on the bloody twenty-second of January [1905J, in the very street which was cleared by the volleys of the soldiers.

A. 現在假設在「血腥的一月廿二日」這天，同樣這位女士剛好在聖彼得堡，街道被一群正拿著槍掃射的士兵們佔據，
B. 現在，在1905年「血腥的一月廿二日」這天，同樣的這位女士，剛好在聖彼得堡，一群正拿著槍士兵們正在街上扫射。

All round her people were falling to the ground dead or wounded; she, however, quite calm and clear-headed, espied a gate leading into a yard through which she made her escape into another street.

A. 这位女士身旁的人們受傷或死亡而倒在地上，不過她卻很冷靜且手腳俐落的穿越過草坪而逃到另一條街。
B. 在这位女士周围，人們死亡或是受伤地倒在地上。不過，她卻很冷靜，而且头脑清楚地窥探通往一个庭院的大门，通过那里，她逃避到另一條街。

These dreadful moments caused her no further agitation. She felt perfectly well afterwards–indeed, rather better than usual.

A. 像這樣令人害怕的場景她卻反而毫不激動。之後她覺得整個人非常的好──真的，比平常更好。
B. 這些令人害怕的时刻，并没有引起她惊慌失措。事後，她覺得整個人若无其事──真的，比平常还有安详。

This failure to react to an apparent shock can frequently be observed. Hence it necessarily follows that the intensity of a trauma has very little pathogenic significance in itself, but it must have a special significance for the patient.

A. 像這樣明顯的刺激卻無法做出反應還頗為常見。因此創傷強度的本身並非致病源，反而是創傷的本身對病患是否有特殊的意義。

B. 面对明顯的震撼，卻仍然处变不惊的例子，還时常被观察到。因此，我们必然会推论到；創傷強度的本身並没有多大的病因的重要性，而是对于病患，它会具有特殊的重要性。

That is to say, it is not the shock as such that has a pathogenic effect under all cir¬cumstances, but, in order to have an effect, it must impinge on a special psychic disposition, which may, in certain circumstances, consist in the patient’s unconsciously attributing a specific sig¬nificance to the shock.

A. 也就是說，並非在所有的情況下驚嚇會導致生病，而是必須病患本身也有獨特的「心理體質」(psychic disposition)，在特定的情境下，驚嚇對病患的潛意識產生了某種效應。

B. 也就是說，並不是震撼的本身，在任何的情況下，都会产生病因的影响，而是，为了要产生影响，它必須影响到一个特别的心理体质。在某些的情境下，这个特别的心理体质，主要在于病人潜意识地归属一个明确的意义给这个振撼。

Here we have a possible key to the “pre¬disposition.” We have therefore to ask ourselves: what are the particular circumstances of the scene with the cab? The patient’s fear began with the sound of the trotting horses; for an instant it seemed to her that this portended some terrible doom-her death, or something as dreadful; the next moment she lost all sense of what she was doing.

A. 我們這裡再度提到關鍵字「體質」。我們必須自問：馬車這一幕場景，是什麼特別的情境嗎？是病人害怕聽到疾駛的馬聲，因為在那剎那對她來說彷彿預告著可怕的毀滅──她的死亡，或某種可怖的東西，導致下一刻她完全不知道她在做些什麼嗎？
B. 对于「先天體質」，我们拥有一个可能的答案。我們因此必須询問自己：馬車這一幕場景，是什麼特別的情境嗎？病人害怕开始于聽到疾駛的馬蹄聲，有一阵子，對她來說，彷彿預告著可怕的毀滅──她的死亡，或某種可怖的東西。下一时刻，她就完全不知道她在做些什麼。

The real shock evidently came from the horses. The patient’s predisposition to react in so unaccountable a way to this unre¬markable incident might therefore consist in the fact that horses have some special significance for her.

A. 驚嚇是來自於馬兒這點是證據確鑿的。病人的體質對這不起眼的事件有無法解釋的反應，可能代表馬兒對她具有某種特別意義。

B. 显而易见，真正的驚嚇是來自於馬兒。病人的體質對這不起眼的事件反应，令人匪夷所思，可能在于这个事实：馬兒對她具有某種特別意義。

We might conjecture, for instance, that she once had a dangerous accident with horses. This was actually found to be the case. As a child of about seven she was out for a drive with her coachman, when suddenly the horses took fright and at a wild gallop made for the precipitous bank of a deep river-gorge. The coachman jumped down and shouted to her to do likewise, but she was in such deadly fear that she could hardly make up her mind. Nevertheless she

A. 比方說，我們可能猜想她以前與馬兒一起發生了危險的意外事故。確實也是真的，這位病人當她是真的，這位病人當她還處於七歲的童年時，她與馬夫一同駕駛馬車外出，馬匹因為驚嚇而在陡峭的峽谷中開始馳騁，馬夫因而跳車並命令她照著跳，但她太過害怕導致她幾乎無法思考。就在載著行李的馬車即將跌入深谷之前，千鈞一髮之際她跳車了。
B. 比方說，我們可能猜想，她以前與馬兒一起發生了危險的意外事故。这確實也被发现是真实的。當這位病人是七歲的小孩時，她與馬夫一同駕駛馬車外出。突然地，馬儿因為受到驚嚇，朝向深渊河谷的陡峭崖岸狂奔。馬夫因而跳車，並喊叫她照著跳。但她惊慌失措，幾乎無法拿定主意。就在馬及马車即將跌入深谷之前，她千鈞一髮地跳車。

That such an event would leave a very deep impression scarcely needs proof. Yet it does not ex¬plain why at a later date such an insensate reaction should fol¬low the perfectly harmless hint of a similar situation. So far we know only that the later symptom had a prelude in childhood, but the pathological aspect of it still remains in the dark.

A. 這樣的事件留下極深的印象應該是無庸置疑，但仍無法解釋為何日後一個類似情境卻無害的場景也會有如此過當的反應。截至目前為止我們只知道在童年時期的序曲揭開了日後的症狀，但我們仍不清楚為何它會致病。
B. 這樣的事件留下極深的印象應該是無庸置疑，但仍無法解釋，為何日後一個類似情境卻無害的場景也會有如此冷静的反應。截至目前為止，我們只知道在童年時期是了日後症狀的序曲，但我們仍不清楚為何它會致病。

In order to penetrate this mystery, further knowledge is needed. For it had become clear with increasing experience that in all the cases analysed so far, there existed, apart from the traumatic experiences, another, special class of disturbances which lie in the province of love.

A. 為了找出神秘的答案，我們需要更多知識。透過分析更多個案我們逐漸清楚，除了創傷之外，有些障礙的產生卻是源自於愛。我們得先承認「愛」是一個充滿彈性的概念，它的「彈性」可以從天堂延伸至地獄，且本身結合了善與惡、高與低。
B. 為了找出神秘的答案，我們需要更多知識。随着越来越多的精神分析经验，更加明朗的是，在迄今被分析的所有个案里，除了創傷经验之外，存在着另外一种精神失常的模式。它们是处于爱的领域。

Admittedly “love” is an elastic concept that stretches from heaven to hell and combines in itself good and evil, high and low. With this discovery

A. 我們得先承認「愛」是一個充滿彈性的概念，它的「彈性」可以從天堂延 至地獄，且本身結合了善與惡、高與低。

B. 我們得先承認「愛」是一個充滿彈性的概念，它的「彈性」可以從天堂延伸至地獄，且本身結合了善與惡、崇高與卑下。

Freud’s views underwent a considerable change. If, more or less under the spell of Breuer’s trauma theory, he had formerly sought the cause of neurosis in traumatic experiences, now the centre of gravity of the problem shifted to an entirely different point.

A. 因為這項發現，弗洛伊德觀念產生巨大的改變。先前或多或少受到布魯爾創傷理論的影響，他認為精神官能症是源自於創傷經驗，現在問題的核心則轉移到全然不同的觀點。
B. 因為這項發現，弗洛伊德觀念產生巨大的改變。即使他先前或多或少受到布魯爾創傷理論的影響，他曾经从创伤经验里，寻求精神官能症的原因。現在問題的核心則轉移到全然不同的觀點。

This is best illustrated by our case: we can understand well enough why horses should play a special part in the life of the patient, but we do not under¬stand the later reaction, so exaggerated and uncalled for.

A. 這位個案可做最好的範例解說：我們能夠瞭解為何馬兒在病人的生命中扮演特別的角色，但我們實在無法瞭解之後病人的反應為何如此的誇張且多此一舉。
B. 我们的個案可做最好的範例解說：我們能夠清楚地瞭解，為何馬兒在病人的生命中竟然扮演特別的角色。但是我們無法瞭解，後来病人的反應為何如此的誇張，且多此一舉。

The pathological peculiarity of this story lies in the fact that she is frightened of quite harmless horses. Remembering the discovery that besides the traumatic experience there. is often a disturb¬ance in the province of love, we might inquire whether perhaps there is something peculiar in this connection.

A. 這則故事的獨特之處是病患的病態：她對相當無害的馬兒卻如此的驚恐。還記得我們說過發現創傷經驗的同時，也總是伴隨著與「愛」相關的障礙，因此我們可能想問是否這兩者間有著獨特的連結。
B. 這則故事的病态獨特之處，是在于这个事实：對相當無害的馬兒，她卻如此的驚恐。還記得这个發現：除了創傷經驗，總是有处于「愛」领域的精神失常。因此我們可能想要询問的是：這个关联，是否有某件奇特的东西？

The lady knows a young man to whom she thinks of becom¬ing engaged; she loves him and hopes to be happy with him. At first nothing more is discoverable. But it would never do to be deterred from investigation by the negative results of the pre¬liminary questioning.

A. 這位女士認識一位她即將訂婚的年輕男子；她很愛他，同時也希望能快樂的與他一起生活。我們的初步探索並沒有結果，或許遺漏了一些蛛絲馬跡，不過我們仍緊追不捨的繼續進行調查。
B. 這位女士認識一位她即將訂婚的年輕男子；她很愛他，也希望能與他共筑快乐的生活。起初，我們並沒有更多的发现。不過，因为初步的探索的结果是负面，就迟疑不从事研究，那是行不通的。

There are indirect ways of reaching the goal when the direct way fails. We therefore return to that sin-gular moment when the lady ran headlong in front of the horses. We inquire about her companions and what sort of fes¬tive occasion it was in which she had just taken part.

A. 若使用直接的方式失敗，那麼使用間接的方式同樣也能達到目標。回到那位女士跑在馬車前面的那天，我們詢問有關她的同伴，以及當天她是參加什麼樣的晚會。
B. 若直接的方式行不通，那麼还有間接的方式来達到目標。我们因此回到那奇特的时刻，当这位女士盲动地跑在馬車前面。我們詢問有關她的同伴，以及她刚才參加的庆宴是什麼樣的场合。

It had been a farewell party for her best friend, who was going abroad to a health resort on account of her nerves.

A. 那是一個為她朋友舉辦的歡送晚會，這位朋友因為神經緊張的問題即將出國療養。
B. 那是一個為她的好朋友舉辦的歡送晚會，這位朋友因為神经紧张的問題，即將出國到健康療養中心。

This friend is married and, we are told, happily; she is also the mother of a child. We may take leave to doubt the statement that she is happy; for, were she really so, she would presumably have no reason to be “nervous” and in need of a cure.

A. 這位朋友已婚，且我們被告知，這位朋友很快樂；同時也是一個小孩的人母。我們或許可以懷疑她是否真的快樂，因為果真如此那她實在沒有理由「緊張」到需要治療。
B. 這位朋友已经结婚，而且我們被告知，她的婚姻很幸福。她也是一個小孩的母亲。我們可以容许懷疑，她过得很幸福这个陈述。因為果真如此，那她實在沒有理由「緊張」到需要治療。

Shifting my angle of approach, I learned that after her friends had rescued her they brought the patient back to the house of her host–her best friend’s husband –as this was the nearest shelter at that late hour of night. There she was hospitably received in her exhausted state.

A. 改變了我探索的角度後，我發現到病人在晚會後，被她的朋友們帶到男主人的家中──也就是她最好朋友的丈夫家裡，因為那天深夜時間已晚，而這是離她最近的庇護所。精疲力竭的她在那兒休息。
B. 改變了我探索的角度後，我發現到，她的朋友拯救她后，他们带病人回到她的男主人的家中—也就她的好朋友的丈夫的家中—因为这是三更半夜，
離她最近的庇護所。身心俱疲地，她在那儿受到热诚地接待。

At this point the patient broke off her narrative, became embarrassed, fidg¬eted, and tried to change the subject. Evidently some disa¬greeable reminiscence had suddenly bobbed up.

A. 就在那時病患陳述到一半突然中斷，變得尷尬、坐立不安起來，且試著轉移話題。顯然某種病患不想要的回憶突然浮現。
B. 就在那時，病患陳述到一半突然中斷，變得尷尬、坐立不安起來，且試著轉移話題。显而易见地，某種令人不愉快的回憶突然浮現。

After the most obstinate resistance had been overcome, it appeared that yet another very remarkable incident had occurred that night: the amiable host had made her a fiery declaration of love, thus pre¬cipitating a situation which, in the absence of the lady of the house, might well be considered both difficult and distressing.

A. 經過我們非常努力克服頑強的阻抗後，顯然當晚還發生了一件重要的事：和藹可親的男主人竟對她示愛，於是，在缺少女主人在家的情況下，觸發了一種令人既困擾又挫折的情境。
B. 克服她的頑強的阻抗後，我们发现，顯然當晚還發生了另外一件重要的事：和藹可親的男主人竟對她强烈表示愛慕之情。由于家中女主人不在现场，那个突发的情境，很有理由被认为是令人既困擾又痛苦。

Ostensibly this declaration of love came to her like a bolt from the blue, but these things usually have their history. It was now the task of the next few weeks to dig out bit by bit a long love story, until at last a complete picture emerged which I attempt to outline somewhat as follows:

A. 表面上對病患的示愛似乎是意外發生，但這些事情會發生通常也有它的來龍去脈。在接下來的數週中我們的工作重點在於將這漫長的愛情故事一點一滴的挖掘出來，直到完整的故事情境浮現，我試著將它敘述如下：
B. 表面上，爱慕之情的告白，对于她而言，像是晴天霹雳，，但這些事情會發生通常也有它们的來龍去脈。在接下來的數週中，我們的工作重點，在於將這漫長的愛情故事，一點一滴的挖掘出來，直到完整的故事情境浮現，我試著大约敘述如下：

As a child the patient had been a regular tomboy, caring only for wild boys’ games, scorning her own sex, and avoiding all feminine ways and occupations.

A. 病患童年時是個像男生的女孩子，只玩男孩子的遊戲，咒罵著自己的性別，而避免所有女性化的舉止或工作。

B. 病患童年時，经常表现的举止像男生，只玩狂野男孩的遊戲，咒罵著自己的性別，而避免所有女性化的舉止或工作。

After puberty, when the erotic problem might have come too close, she began to shun all soci¬ety, hated and despised everything that even remotely reminded her of the biological destiny of woman, and lived in a world of fantasies which had nothing in common with rude reality.

A. 青春期後，當性問題開始浮現，她封閉了人際接觸，憎恨及鄙視每件象徵她在生物學上是女性的一切事物，而住在缺乏現實的幻想世界中。

B. 青春期过後，当性爱的問題可能已经逼近，她开始逃避各种社交活动，憎恨及鄙視每件，即使稍微会让她想起，她在生物學上注定是女性的一切事物。她生活在幻想世界里，在那里，没有一样东西跟赤裸的现实界相同。

Thus, until about her twenty-fourth year, she evaded all those little adventures, hopes, and expectations which ordinarily move a girl’s heart at this age. Then she got to know two men who were destined to break through the thorny hedge that had grown up around her. Mr. A was her best friend’s husband, and Mr. B was his bachelor friend.

A. 她迴避著許多那個年紀的小女生應該會嚮往的小冒險、盼望和期待，直到她廿四歲那年她認識了兩名男人，而這兩個男人命中注定要破除圍繞在她四周的重重荊棘。其中A先生就是她最好朋友的丈夫，而B先生則是A先生的大學朋友。
B. 她迴避著許多那個年紀的小女生應該會嚮往的小冒險、盼望和期待。直到她廿四歲那年，她开始認識了兩名男人，而這兩個男人命中注定要破除圍繞在她四周的重重荊棘。其中A先生就是她最好朋友的丈夫，而B先生則是A先生目前是鳏夫身份的朋友。

She liked them both. Nevertheless it soon began to look as though she liked Mr. B a vast deal better. An intimacy quickly sprang up between them and before long there was talk of a possible engagement.

A. 她同時喜歡他們兩人，儘管很快地看起來她似乎喜歡B先生多一些，也因此他們很快就發展出親密關係甚至還論及婚嫁。

B. 她同時喜歡他們兩人。可是，很快地，情况看起來，她似乎更加喜歡B先生。他們两人之间的亲密关系，很快就發展起来。不久，就有他们可能要订婚的讯息传闻。。

Through her relations with Mr. B and through her friend she often came into contact with Mr. A, whose presence sometimes disturbed her in the most un¬accountable way and made her nervous.

A. 因病人與B先生與好朋友的關係之故，因此她仍常與A先生聯繫，但A先生的出現有時會使病人感覺到困擾，且也使得她神經緊張。

B. 因病人與B先生與好朋友的關係之故，因此她仍常與A先生聯繫，但A先生的出現,匪夷所思地，有時會使病人感覺到困擾，且也使得她神經緊張。

About this time the pa¬tient went to a large party. Her friends were also there. She be¬came lost in thought and was dreamily playing with her ring when it suddenly slipped off her finger and rolled under the table.

A. 大約在有一次病人參加大型宴會時，她的朋友們也在場，她的思緒開始混亂而把玩著手指中的戒指，卻突然間從手指中滑落掉到桌下滾動著。
B. 大約在病人參加大型宴會的这一次，她的朋友們也在場，她的思緒開始混亂，而沉醉梦幻般地把玩著手指中的戒指，卻突然間戒指從手指中滑落，掉到桌下滾動著。

Both gentlemen looked for it and Mr. B succeeded in find¬ing it. He placed the ring on her finger with an arch smile and said, “You know what that means!” Overcome by a strange and irresistible feeling, she tore the ring from her finger and flung it through the open window.

A. 兩位紳士同時看到了這一幕而B先生成功地找到了戒指。他微笑著將戒指放到她的手指上，說：「妳知道這是什麼意思！」她實在無法克服這種奇怪且無法抗拒的感覺，於是她從指頭上脫下了戒指，並用力的將戒指丟到窗外。

B. 兩位紳士同時寻找这个戒指，而B先生成功地找到了戒指。他满脸微笑地將戒指放到她的手指上，說：「妳知道這是什麼意思！」她實在無法克服這種奇怪且無法抗拒的感覺，於是她從指頭上脫下了戒指，並用力的將戒指丟到打开的窗外。

A painful moment ensued, as may be imagined, and soon she left the party in deep dejection. Not long after this, so-called chance brought it about that she should spend her summer holidays at a health resort where Mr. and Mrs. A were also staying. Mrs. A then began to grow visibly nervous, and frequently stayed indoors because she felt out of sorts.

A. 於是痛苦的時刻接踵而來，正如我們可以想像的，她非常沮喪地離開了這場宴會。這件事發生不久之後，機緣將她帶往一處度假勝地，而A先生及A太太也剛好在那兒。A太太於是變得緊張起來，她時常待在室內只因為她情緒不好。
B. 於是痛苦的時刻接踵而來，正如我們可以想像的，不久，她非常沮喪地離開了這場宴會。這件事發生不久之後，因为機緣巧合，她前往一处度假勝地时，A先生及A太太也剛好在那兒。A太太於是變得緊張起來，她時常待在室內，因為她感到情緒低潮。

The patient was thus in a position to go out for walks alone with Mr. A. On one occasion they went boating. So boisterous was she in her merriment that she suddenly fell overboard. She could not swim, and it was only with great difficulty that Mr. A pulled her half-unconscious into the boat. And then it was that he kissed her.

A. 病人因而有機會和A先生一同散步。有一次他們出去划船，但因玩得太開心，病人在喧鬧下意外落水。她不會游泳，而A先生盡了全力才將半昏迷的她拉回到船上，就在那時，他親吻了她。
B. 病人因而有機會和A先生单独一同散步。有个场合，他們出去划船。但因玩得太过開心，病人在忘形下意外落水。她不會游泳，而A先生费盡了全力，才將半昏迷的她拉回到船上。就在那个時候，他親吻了她。

With this romantic episode the bonds were tied fast. But the patient would not allow the depths of this passion to come to consciousness, evidently because she had long habituated herself to pass over such things or, better, to run away from them.
A. 因為這浪漫的插曲使得兩個人的連結很快就產生，但病人無法容許這種熱情繼續深入到意識面。顯而易見的，長期以來她已經習慣忽略，又或者說逃避類似這種事情。

B. 因為這浪漫的插曲，兩個人的心灵契合很快就產生，但病人無法容許這種激情浮出到意識面。顯而易見地，長期以來，她已經習慣于不敢正视，说的贴切些，就是习惯于逃避類似這種事情。

To excuse herself in her own eyes she pursued her engagement to Mr. B all the more energetically, telling herself every day that it was Mr. B whom she loved.

A. 為了替自己找到藉口她開始追求並熱切地答應B先生的求婚，每天說服自己她愛的是B先生。
B. 為了让自己眼中的背叛能够自圆其说，她寻求並且更加熱切地答應B先生的求婚，每天說服自己，她愛的是B先生。

Naturally this curious little game had not escaped the keen glances of wifely jealousy. Mrs. A, her friend, had guessed the secret and fretted accordingly, so that her nerves only got worse.

A. 自然這種小把戲無法逃出妻子嫉妒的眼神，A太太，也就是病人的朋友，已經猜到這個秘密而自然會感到焦躁不安，也因此她的神經緊張益發惡化，

B. 当然，這種奇怪的小把戲并没有躲避过作为妻子嫉妒的敏锐眼光。A太太，也就是病人的朋友，已經猜到這個秘密，因此感到焦躁不安，也因此她的神經緊張益發惡化。

Hence it became necessary for Mrs. A to go abroad for a cure. At the farewell party the evil spirit stepped up to our patient and whispered in her ear, “Tonight he is alone. Something must happen to you so that you can go to his house.” And so indeed it happened: through her own strange behaviour she came back to his house, and thus she attained her desire.

A. 所以A太太才需要出國治療。在歡送會中邪靈走近病人身旁耳語：「今晚他一個人獨處。你一定會發生某件事情好讓妳到他家。」也的確真的發生了，透過病人的奇特行為，她回到他家，也達到病人的目的。

B. 因此，A太太出國治療变得迫切需要。在歡送會中，邪恶的精靈走近病人身旁耳語：「今晚他一個人獨處。你一定要發生某件事情，好讓妳能够到他家。」事情確真的發生了。 透過她自己的奇特行為，她回到他家，也因此满足她的欲望。

After this explanation everyone will probably be inclined to assume that only a devilish subtlety could devise such a chain of circumstances and set it to work.

A. 經過這樣的解釋或許每位讀者會猜想只有極度精巧的設計才能夠策劃這一連串的情境並且讓它生效。
B. 經過這樣的解釋，或許每位讀者會倾向于认为，只有極度精巧的設計才能夠策劃這一連串的情境，並且讓它运作。

There is no doubt about the subtlety, but its moral evaluation remains a doubtful matter, because I must emphasize that the motives leading to this dra¬matic denouement were in no sense conscious.

A. 對精巧而言確實是無庸置疑，但就道德層次的評價則仍有疑義，因為我必須強調導致這場戲劇化結局的動機本身並非處於感覺意識的層次。

B. 對精巧而言，它確實是無庸置疑，但就道德層次的評價，它則仍有可疑之处，因為我必須強調，導致這場戲劇化結局的動機，本身根本就不是處於意識的層次。
In no sense 「根本就不是」，跟「感觉」无关。

To the patient, the whole story seemed to happen of itself, without her being conscious of any motive. But the previous history makes it per¬fectly clear that everything was unconsciously directed to this end, while the conscious mind was struggling to bring about the engagement to Mr. B. The unconscious drive in the other direc¬tion was stronger.

A. 對病人來說，這場故事就像是自己發生的，她本身的意識層次並不具任何動機。但先前的故事完美地指出每件事情都是潛意識地導向最終結局，而意識之心仍舊掙扎著要嫁給B先生，只是潛意識的層次往反方向的驅力(drive)較強而已。

B. 對病人來說，整个故事就像是自动自发，她并不知道任何的動機。但是从先前的故事，我们非常清楚地看出，每件事情都是潛意識地導向最終結局，而在意識的决定，她仍舊努力要促成她跟B先生的定婚。只是往相反方向的潜意识的驅力較強。

So once more we return to our original question, namely, whence comes the pathological (i.e., peculiar or exaggerated) nature of the reaction to the trauma? On the basis of a conclu¬sion drawn from analogous experiences, we conjectured that in this case too there must be, in addition to the trauma, a disturb¬ance in the erotic sphere.

A. 所以我們再度回到我們本來的問題，也就是說對創傷的反應究竟出於什麼原因會導致病態（奇特或誇張）的現象？從這些雷同的經驗群中所獲得的結論當作基礎，我們推測，就這個個案除了創傷以外，一定是在情色層面也發生混亂所致。
B. 所以我們再度回到我們本來的問題，也就是說，對創傷的反應的病态的特性（奇特，或是誇張的病态特性），从何处发展而来？根据從這些雷同的經驗，所獲得的結論當作基礎，我們推測，就這個個案，除了創傷以外，一定是在情色層面也發生失常所致。

This conjecture has been entirely con¬firmed, and we have learnt that the trauma, the ostensible cause of the illness, is no more than an occasion for something previ¬ously not conscious to manifest itself, i.e., an important erotic conflict.

A. 這個猜測可以說已經被確認，而我們也學到除了創傷會造成疾病外，一個先前在意識界並未顯現的事物，比方說一個重要的情色衝突(erotic conflict)也會造成疾病。

B. 這個猜測已經被確認，而我們也学习到，創傷是疾病的表面原因，仅仅是一个场合，让先前没有意识到的某件东西，展现出来。譬如， 让一种重要的情色冲突展现出来。

Accordingly the trauma loses its exclusive significance, and is replaced by a much deeper and more comprehensive con¬ception which sees the pathogenic agent as an erotic conflict.

A. 自然地創傷失去了它獨一無二的重要性，而被更深層且易於理解的概念所取代：情色衝突才是致病因子。
B. 因此，創傷失去了它獨一無二的重要性。它被更深層且全面性的概念所取代：这个观念将病因的代理者，视为是情色衝突。
Comprehensive 全面性，而非「易於理解」

One often hears the question: why should the erotic conflict be the cause of the neurosis rather than any other conflict? To this we can only answer: no one asserts that it must be so, but in point of fact it frequently is so.

A. 每個人常聽到像這樣的問題：為何情色衝突應該是精神官能症的原因而不是其他的衝突呢？對這個問題我們只能回答：沒有人假設它一定是這樣，但事實上它卻時常如此。

B. 每個人常聽到像這樣的問題：為何情色衝突竟然是精神官能症的原因，而不是其他的衝突呢？對這個問題我們只能回答：沒有人假設它一定是這樣，但事實上它卻時常如此。

In spite of all indignant protes¬tations to the contrary, the fact remains that love, its problems and its conflicts, is of fundamental importance in human life and, as careful inquiry consistently shows, is of far greater sig¬nificance than the individual suspects.

A. 儘管所有憤怒的聲明表示結論剛好相反，但事實卻仍然與愛 有關的問題與衝突，在人類生活中扮演基本且重要的角色，且只要仔細探究便可一致地顯示出，它的重要性遠比任何人的猜想更巨大。

B. 儘管所有憤怒的异议表示剛好相反，但事實存在仍然是：與愛 有關的問題與衝突，在人類生活中，具有基本的重要性。而且只要仔細探究，我们便可前后一致地看出，爱的重要性遠比任何人的猜想更巨大。

The trauma theory has therefore been abandoned as anti¬quated; for with the discovery that not the trauma but a hidden erotic conflict is the root of the neurosis, the trauma loses its causal significance.ll

A. 創傷理論因此過時也被捨棄，因為隨著這個發現我們注意到並非創傷，而是隱藏的情色衝突是精神官能症的根源，創傷因此失去了它在因果關係上的重要性。

B. B. 創傷理論因此被认为是過時，而被捨棄。因為隨著這個發現：並非創傷，而是隱藏的情色衝突，才是精神官能症的根源。創傷因此失去了它在因果關係上的重要性。

我還記得有位罹患急性歇斯底里症的年輕女士發生突然的驚恐狀態 。在午夜時她參加完一場晚會後與數名朋友一同在回家的路上，有一輛馬車在她們後方全力加速疾駛。其他朋友們趕緊跳到路旁，但她彷彿被下了驚恐咒一般仍站在路的中央且竟然在馬兒的前方奔跑。

拉康論移情 0419b

拉康論移情 0419b

THE SEMINAR OF JACQUES LACAN BOOK VIII
拉康研討班第八冊

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 16; Wednesday 19 April 1961

Here this bouquet covers the precise point of an absent presence, of a presentified absence.

在此，這個花束涵蓋一個欠缺的存在，一個被呈現的存在的確實點。

The technical history of the painting of the epoch invites us, not by my voice but by the voice of critics who started from premises quite different to those which on this occasion guide me here.

這個時代的圖畫的技術的歷史邀請我們，不是憑藉我的聲音，而是憑藉批評者的聲音。批評者的聲音從截然不同於這個場合在此引導我的那些假設開始。

They have underlined the kinship there is because of the very fact of the probable collaborator who is the one who especially made the flowers.

他們強調存有親屬關係，因為這個事實：可能的合作者是特別製造花的人。

Certain things indicate to us that it is not, probably, the same artist who at work in the two parts of the painting and that it is a different person, Francesco, a brother or cousin of the artist, instead of Jacopo who, by reason of his technical skill, was asked to be the one to produce this piece of bravura of the flowers in their vase at the appropriate
place.

某些事情跟我們指示著，從事這幅圖畫的兩個部分，可能不是相同的藝術家，而是不同的人，法蘭西斯可，藝術家的兄弟或堂兄弟，而不是傑可坡。由於他具有技術的技巧，他被要求成為製作在適當位置花瓶裡的這束花束的人。

This is related by the critics to something which I hope a certain number of you know, namely the technique of Arcimboldo which, a few months ago, was brought to the knowledge of those who inform themselves a little about the different returns to the present of aspects which are sometimes elided, veiled or forgotten in the history of art.

這些批評者將它跟某件東西牽連，我希望你們有些人會知道，也就是阿西姆伯德的技術。幾個月前，大家被告知這個技術，他們稍微告訴他們自己，關於這些不同的回到目前有時被省略，被遮蔽，被遺忘的部分，在藝術史上。

This Arcimboldo is distinguished by this singular technique which
produced its latest off-shoot in the work for example of my old friend Salvador Dali, which consists in what Dali has called paranoiac drawing.

這個阿西姆伯德以這個奇特的技術突顯出來，它產生它最近的旁系，譬如，在我的老朋友，薩爾瓦多，達利的作品。這門技術在於達利所謂的偏執狂患者的圖畫。

In the case of Arcimboldo, it is to represent the face for example of the librarian (he worked mainly at the court of the famous Rudolph II of Bohemia who also left many other traces in the tradition of the rare object) of Rudolph II by a clever putting together of the primary implements
of the librarian’s function, namely a certain fashion of (3) arranging books in such a way that the image of a face, of a visage is here much more than suggested, really imposes itself.

在阿西姆伯德的情況， 它是要呈現這個臉孔，譬如，圖書館員的臉孔 （他主要是從事波西米亞的著名的魯道夫二世的宮廷，那裡留下許多其它的遺跡，在稀有客體的傳統），他繪製魯道夫二世的圖書館員，巧妙地使用圖書館員的功用的基本要素的拼貼。 換句話說， 使用各種安排書籍的方法，讓一個臉孔，一個外貌的意象，在此不僅是被建議，確實是賦加它自己。

In the same way the symbolic theme of a season incarnated in the form of a human face will be materialised by all the fruits of this season whose assemblage will itself be realised so that the suggestion of a face also imposes itself in the form produced.

同樣地， 一個季節的象徵的主題，以人類臉孔的形式具體表現，將會具體化，根據這個季節所有的水果，這些水果的彙集本身將會被實現，這樣一個臉孔的暗示也賦加它自己，以被產生的形式。

In short this production of that which in its essential shape presents itself as the human image, the image of another, will be realised in the Mannerist method by the coalescence, combination, the accumulation of a pile of objects the total of which will be charged with representing what henceforth manifests itself at once as substance and illusion because, at the same time as the appearance of the human image is sustained, something is suggested which can be imagined in the disaggregation of objects which, by presenting in a way the function of the mask, show at the same time the problematic of this mask.

總之， 這個作品在它的基本的形狀，呈現它自己，作為人的意象，另外一個人的臉孔的意象， 將會以格調主義的方式被實現，使用接合，連接，累積一大堆東西。這些東西的總合將會被賦予代表因此展現它自己的東西，既當作材料，也當作幻覺。因為當人類的意象的外表被維持的同時，某件東西被建議。這個東西在客體崩潰時被想像。當這些客體以面具的功用呈現時，它們同時顯示這個面具的難題。

That with which in short we always have to deal every time we see coming into play this so essential function of the person, in so far as we see it all the time in the foreground in the economy of human presence,
is the following: if there is a need for a persona it is because behind, perhaps, every form slips away and vanishes.

總之，我們總是必須處理，每一次我們看到人的這個如此基本的功用運作時。我們始終看到它在前景裡， 在人的存在的活動裡，那就是以下： 假如有需要一個角色面具，因為在背後，或許，每個形式會溜走並且消失。

And undoubtedly, if it is from a complex assemblage that the persona results, it is indeed in effect here that there lies at once the lure and the fragility of its subsistence and that, behind, we know nothing about what can be sustained, because a reduplicated appearance is imposed on us or suggests itself essentially as reduplicated appearance, namely something which when questioned leaves a vacuum, the question of knowing what there is behind in the final analysis.

無可置疑的，假如角色面具來自一個複雜的彙集，實際上， 確實是在這裡， 它的生存的陷阱及脆弱性就在這裡。 而在背後，我們什麼都不知道， 關於什麼能夠被維持， 因為一個複製的外表被賦加在我們之上，或建議它自己，基本上作為被複製的外表。也就是說， 某件東西，當它被質疑時，它會留下一個真空。總歸到底，問題是要知道，背後是什麼。

It is indeed therefore in this register that there is affirmed, in the composition of the painting, the maintaining of the question of knowing (because this is what we should now maintain, sustain essentially before our minds) what is happening in the act of Psyche.

因此確實是在這個銘記，維持想要知道的問題被肯定， 在圖畫的繪製結構，（ 因為這是我們現在應該維持，基本上維持在我們的心靈之前），要知道賽奇女神的動作，發生什麼事。

The fulfilled Psyche questions herself about what she is dealing with and it is this moment, this precise, privileged instant that Zucchi has held onto, perhaps well beyond what he himself could, would have been able to articulate about it in a discourse – there is a discourse on the antique gods by this personage, I was careful to consult it, without any great
illusion, there is nothing much to be drawn from this discourse – but the work speaks sufficiently for itself.

這個被實現的賽奇女神詢問她自己，關於她正在處理的東西。就在這個時刻，這個明確的特權的瞬間， 朱奇曾經掌握， 或許遠超越他自己能夠，或本來能夠用論述來表達它—這個人物有一個對於古代眾神的論述，我很仔細地參照它，不帶任何幻想，從這個論述裡，根本沒有東西能夠被獲得—但是作品本身已經足夠替它自己說話。

And the artist has in this image grasped this something instantaneous which I called the last time this moment of the apparition, of the birth of Psyche, this sort of exchange of powers which ensures that she
becomes embodied, and with all this cortege of misfortunes which will be her’s in order that she should loop a loop, in order that she should rediscover in this instant this something which, for her, is going to disappear the instant after, precisely what she had wanted to grasp, what she had wanted to unveil: the face of desire.

藝術家在這個意象曾經掌握這個某件瞬間的東西，上一次我稱它為魅影的這個時刻，賽奇女神誕生的時刻。權力的這種的交換保證，她會變得具體化，帶著一大堆屬於她的不幸，這樣她才能環環相扣，這樣她才會在這個瞬間重新發現這個某件東西。對於她而言， 這個東西將會消失，在她曾經想要揭露的瞬間： 欲望的臉孔。 這確實是她曾經想要掌握的。

What justifies the introduction of the symbol ^> (phi) as such, since I put it forward as that which comes in place of the missing signifier? What does it mean that a signifier should be lacking?

介紹陽具的象徵符號本身的理由是什麼？因為我提出它，作為前來代替失落的能指？那是什麼意思？能指應該就是欠缺？

How many times have I told you that once given the battery of signifiers beyond a certain minimum which remains to be determined – regarding which I told you that at the limit four should be enough for all significations – there is no tongue, however primitive it may be, where finally everything cannot be expressed, except of course for the fact that, as the Vaudois proverb puts it: “Everything is possible for man, what he cannot do he leaves undone”, that what cannot be expressed in the aforesaid tongue, well quite simply it will not be felt.

有多少次，我曾經告訴你們，一旦被給予這一系列的能指，超越某個有待決定的最小量—關於這個，我告訴你們，在極限，四個應該足夠充當所有的意義—沒有一種語言，無論多麼原始的語言，在那裡最後無法盡情表達一切，當然除了這個事實，如同寶達斯格言所說的：「對於人而言，一切都有可能，他做不到的事情，他就聽任不做。」在前述的語言，無法被表達的東西，簡單地說，就讓它視如無睹。。

雄伯譯
32hsiung@pchome.com.tw
https://springhero.wordpress.com

拉康論移情 0419

拉康論移情 0419

THE SEMINAR OF JACQUES LACAN BOOK VIII
拉康研討班第八冊

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 17: Wednesday 19 April 1961

I take up again before you my difficult discourse, more and more
difficult because of the aims of this discourse. To say for example that I am leading you today onto unknown terrain would be inappropriate because, if I begin today to lead you onto a terrain, it is necessarily because from the beginning I already began.

我在你們面前再一次從事我困難的論述，越來越困難，因為這個論述的目標。 譬如，說我今天正在引導你們進入未知的平臺，將是不適當的說法。因為，假如我今天開始引導你們進入一個平臺， 那必須是因為從一開始，我已經開始。

Moreover to speak about unknown terrain when it is a question of our own, of the one which is called the unconscious, is still more inappropriate because what is in question, and what constitutes the difficulty of this discourse, is that I can say nothing about it which does not take on all its weight precisely from what I do not say about it.

而且，談論有關未知的平臺，當問題是我們自己，是所謂的無意識的平臺，那會更加的不適當。因為受到質疑的，以及構成這個論述的困難是，關於它我無話可說，它並沒有具有所有的重量，確實從關於它，我沒有說的部分。

It is not that one should not say everything, the fact is that in order to speak with precision we cannot say everything, even about what we can formulate, because there is already something in the formula which – as you will see, we grasp it at every instant – precipitates what is in question into the imaginary, which is essentially what happens because of the fact that the human subject as such is prey to the symbol.

倒不是因為我們不應該道盡一切，事實上，為了正確地言說，我們無法道盡一切，甚至關於我們所能夠說明，因為已經有某件東西，在這個公式—你們看出， 我們在每個時刻都掌握它—將受到質疑的東西突然拋入想像界。這基本上是所發生的事情，因為這個事實：人類的生命主體本身是象徵符號的獵物。

At the point that we have got to in it, this “to the symbol”, be careful, should it be put in the singular or the plural? Undoubtedly in the
singular in so far as the one which I introduced the last time is
properly speaking as such the unnamable symbol – we are going to see why and how – the symbol <p (big phi), precisely this point at which I must today take up my discourse again in order to show you how it is indispensable for us in order to understand the incidence of the castration complex on the mainspring of transference.

在那裡我們必須到達這一點，這個「象徵符號的獵物」。但是請小心，這個象徵符號應該用單數還是複數來表達？無可置疑的， 是用單數，因為我上一次跟你們介紹的這個象徵符號，適當來說， 本身是無法命名的符號—我們將要看出，為什麼及如何—陽具的這個象徵符號，確實是我今天必須再一次從事我的論述的這一點，為了要跟你們顯示，我們如何不可免除，為了瞭解閹割情結的意外，對於移情的原動力。

There is a fundamental ambiguity between symbolic phallus and imaginary phallus, concretely involved in the psychical economy. The place where we encounter it, where we first encountered it, particularly where the neurotic lives it out in a fashion which represents his particular mode of manoeuvering, of operating with this radical, fundamental difficulty that I am trying to articulate before you through the usage that I give to this symbol $ (big phi) which the last time and many times previously, I briefly designated, I mean in a rapid, abbreviated fashion as the symbol which corresponds to the place where there is produced the lack of signifier.

在象徵符號的陽具與想像界的陽具之間，有一個基本的曖昧，具體地牽涉到心靈的活動。我們邂逅它的地方， 我們首次邂逅它的地方， 特別是神經症實踐它的地方，使用代表他的特別的運作模式的方式。它運作這個積極，基本的困難，我在你們面前正在設法表達，通過我給予這個陽具的象徵符號的用法。上一次，以及先前的許多次，我簡短地指明，我的意思是，以迅速而簡短的方式，作為符合這個地方的象徵符號。 在那裡，能指的欠缺被產生。

If I have unveiled anew from the beginning of this session this image which served us the last time as a support to introduce the paradoxes and the antinomies linked to these diverse slippages, so subtle, so difficult to retain in their different moments and nevertheless indispensable to sustain, if we want to understand what is in question in the castration complex (and which are the displacements and the absences, and the levels and the substitutions where there intervenes what analytic experience shows us more and more), this phallus in its multiple, quasiubiquitous formulae, you see it in experience, if not re-emerging, at least you cannot deny that it is re-evoked at every instant in theoretical writings under the most diverse forms and even up to the final term of the most primitive investigations on what happens in the first pulsations of the (2) soul – the phallus which you see at the final term identified, for example, with the force of primitive aggressivity in so far as it is the worst object encountered at the end in the mother’s womb and that it is moreover the most dangerous object.

假如從這個研討的開始，我曾經重新揭發這個意象，上一次，這個意象替我們充當一種支援，來介紹這些矛盾與對立，跟這些多樣性的捉摸不定息息相關。這種捉摸不定是如此的微妙，如此困難維持，在它們不同的時刻，可是又不可免除地要維持，假如我們想要瞭解，在閹割情結，是什麼受到質疑，（就是這些替代與欠缺），這些層次與替代， 在那裡，精神分析經驗越來越跟我們顯示的，在那裡介入）， 這個陽具，在它的多重的，類似無所不在的公式， 你們在精神分析經驗裡看到它），即使不是重新出現， 至少，你們不能否認， 它在理論的著作裡，隨時都會被召喚，以最多樣的形式。甚至到最原始研究的這個最後術語，研究靈魂的前幾次悸動，所發生的事情—你們看到陽具，譬如，在被辨認的最後術語，用原始的攻擊性的力量。在母親子宮裡面最後邂逅的最糟糕的客體， 而且，那是最危險的客體。

Why this ubiquity? I am not the one who introduces it here, who
suggests it, it is everywhere manifest in the writings of any attempt pursued to formulate on an old plane as well as on a new, renovated one of analytic technique.

為什麼有這個無所不在？ 我並不是在從介紹它，建議它的人，它出現在任何這種企圖的著作裡。這些企圖曾經被追求，為了要從古老及新的層次說明，一種精神分析技術被革新。

Well, let us try to put some order in it and to see why it is necessary for me to insist on this ambiguity, or on this polarity if you wish, polarity with two extreme terms, the symbolic and the imaginary, concerning the function of the signifier phallus.

呵呵，讓我們嘗試將它整理一下，並且看出為什麼我需要堅持這個曖昧性， 或是堅持這個極端性，帶有兩個極端術語的極端， 象徵界與想像界，關於能指的陽具的功用。

I say signifier in so far as it is used as such but when I speak about it, when I introduced it above, I said the symbol phallus and, as you will see, it is perhaps in effect the only signifier which merits, in our register and in an absolute fashion, the title of symbol.

我說的是能指，因為它本身被使用，但是當我談論關於它，當我以上介紹它， 我說，陽具的象徵符號，你們將會看出， 或許事實上，它是唯一獲得象徵符號頭銜的能指，在我們銘記及以絕對的方式。

I have therefore unveiled again this image (which undoubtedly is not the simple reproduction of the original one of the artist) of the painting from which I began as the properly speaking exemplary image, which appeared to me to be charged in its composition with all the sorts of riches that a certain art of painting can produce and whose Mannerist principle I examined.

我因此再一次揭露這個圖畫的意象，（ 無可置疑的，這並不是對於藝術家原創意象的簡單的複製）。從那裡，我開始，作為適當地說是典範的意象。我覺得這個意象在它的構成本質，稟賦有某種圖畫的藝術能夠產生各種的豐富，我檢視過它的格調主義的原理。

I am going to pass it around again rapidly, if only for those who
were not able to see it.

我再一次快速地讓它傳遞給你們，即使僅是給那些以前無法看到的人。

I wish simply, and by way I could say of a complement, to clearly mark, for those who perhaps were not able to understand in a precise fashion, what I intend to underline about the importance here of what I would call the Mannerist application. You are going to see that the application must be employed moreover in the proper sense as well as in the figurative sense.

我僅是希望，憑藉我能夠說的補充， 為了清楚地標示，對於可能不能夠明確瞭解的那些人，對於我打算要強調的， 關於我所謂的格調主義的應用的重要性。 你們將會看次， 這個應用被實施，必須以適當的意義，及以比喻的意義。

It is not I but studies which already exist which have made the rapprochement in this painting between the use that is given by the presence of the bouquet of flowers here in the foreground…. it covers what is to be covered which I told you was less again the threatened phallus
than Eros surprised and uncovered here through an initiative of the question of Psyche: “What is there to be said about him? De lui qu’en est-il?.”

並不是我，而是已經存在的研究，將在這幅圖畫裡的友善關係，在前景的花束的存在給予的用途—它蓋住了應該被蓋住的東西， 我告訴你們，這個東西並不是受到威脅的陽具， 而是厄洛斯性愛之神，在此受到驚喜及揭露，通過賽奇女神的問題的創議：「關於他，有什麼能夠被說？」

雄伯譯
32hsiung@pchome.com.tw
http：//springhero.wordpress.com.tw

拉康論移情 0412e

拉康論移情 0412e

THE SEMINAR OF JACQUES LACAN BOOK VIII
拉康研討班第八冊

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 16; Wednesday 12 April 1961

For when all is said and done if the myth of Psyche has a meaning, it is the fact that Psyche only begins to live as Psyche not simply as provided with an extraordinary initial gift (that of being equal to Venus), nor indeed with a masked and unknown favour (that in short of an infinite and unplumbable happiness) but in so far as Psyche, qua subject of a pathos which is (7) properly speaking that of the soul – at that very moment when
precisely the desire which had fulfilled her is going to flee from her, is going to disappear, it is from that moment that the adventures of Psyche begin.

因為當一切都說都做了，假如賽奇女神的神話具有意義， 事實上，賽奇女神僅是開始生活， 不但被供應特別的基本天賦 （跟維納斯相等的天賦）， 而且確實供應有一個被遮蔽及未被知道的偏愛（ 總之， 無限而無法探究的快樂的偏愛）。但是賽奇女神，作為具有感傷力的生命主體， 適當地說， 具有靈魂的生命主體—當充滿她的欲望將要逃離她的時刻，欲望將會消失，從那個時刻，賽奇的奇遇開始。

I once told you, Venus is born every day and, as the myth tells us, this time the Platonic one, it is therefore because of this we have also every day the conception of Eros.

我有一次告訴你們，有一天 維納斯誕生。如同神話告訴我們， 這一次，是柏拉圖的神話。因為這個神話，我們也每一天都擁有性愛的懷孕。

But the birth of the soul is, in the universal and in the particular, for each and every person, a historic moment. And it is from that moment that there develops in history the drama which we have to deal with in all its consequences.

但是靈魂的誕生， 既是普遍性，也是特別性，對於每一個人，在歷史的時刻。 從那個時刻開始，我們必須處理的這個戲劇，在歷史上發展，具有它一切都結果。

When all is said and done, one can say that if analysis, with Freud, went straight to this point I would say that, if the Freudian message ended on this articulation – consult Analysis finite and infinite – it is because there is a final term – the thing is properly articulated in this text, at which one arrives when one manages to reduce in the subject all the avenues of his re-emergence, of his reliving, of unconscious repetitions, when we have managed to make them converge towards this rock – the
term is in the text – of the castration complex, the castration complex in man as in woman – the term Penisneid is only among others in this text the pinpointing of the castration complex as such.

當一切都說都做了，我們能夠說， 假如精神分析，對於佛洛伊德而言，直接到達這一點，我不妨說， 假如佛洛伊德的訊息以這個表達作為結束—諮商精神分析既是有限，也是無限—這是因為有一個最後的術語—這件事在這個文本裡適當地被表達。我們到達的文本， 當我們成功地在生命主體身上，化簡他重新出現，它的重新復活，無意識重複的所有管道，當我們成功地讓它們彙聚朝向閹割情結的這塊岩石—這個術語在文本裡—男人與女人的閹割情結—「陽具羡慕」這個術語，在這個文本裡，僅是其中之一，針對著閹割情結的本身。

It is around this castration complex and as I might say starting again from this point, that we should put to the test again everything that has in a certain fashion been discovered starting from this stumbling point.

環繞著這個閹割情結，我不妨說， 再一次從這一點開始， 我們應該再一次測試每一樣以某種方式被發現的東西， 從這個絆腳點開始。

For, whether it is a question of highlighting the quite decisive and primordial effect of what emerges from the agencies of the oral for example, or again of the bringing into play of what is called the aggressivity of primordial sadism, or again of what has been articulated in the different developments which are possible around the notion of the object (of the decomposition and the deepening of this relationship, up to the point of
highlighting the notion of good and bad primordial objects), all of this cannot be resituated in a proper perspective unless we regrasp in a divergent fashion that from which this effectively diverged, …. from this point unsustainable to a certain degree in its paradox, which is that of the castration complex.

問題是否是強調這個決定性及原初的影響，譬如，從口腔的代理出現的東西， 或是運作所謂的原初虐待狂的攻擊性，或是以不同的發展被表達的東西。這些表達是可能的， 環繞著客體的觀念 （這個關係的瓦解及深化，一直到強調善與惡的原初客體的觀念）， 所有這一切， 無法用適當的觀點重新定位，除非我們重新掌握，以分歧的方式，這個有效地被分歧的東西，，，從無法被維持的這一點，到它的矛盾的某個點，這是閹割情結的矛盾。

An image like the one that I am taking care, today, to produce before you is in a way to incarnate what I mean in speaking about the paradox of the castration complex.

這是一個意象，像我今天正在處理的這個意象，為了要在你們面前產生的意象，某方面，是要具體表現我的意思，當談論到閹割情結的矛盾。

In effect, if the whole divergence which has been able to appear to us up to the present in the different phases that we have studied, motivated by the discordance, the distinction between what constitutes the object of demand (whether it is in the oral stage the demand of the subject as in the anal stage the demand of the other) and that which in the Other is at the place of desire (which would be in the case of Psyche masked, veiled up to a certain point although secretly perceived by the archaic,
infantile subject), would it not seem that what one can massively call the third phase – which is currently described under the name of the genital phase – is this conjunction of desire in so far as it may be involved in some demand or other of the subject, is it not properly speaking that which ought to find its reference, its identical in the desire of the Other?

實際上，假如整個分歧直到這個時刻，能夠以我們曾經研究的不同的階段，出現在我們面前，由於這種不協調所觸發，區別要求的客體的本質，（無論是在口腔期的階段，生命主體的要求，如同在肛門期的階段，對於大它者的要求），與在大它者身上，處於欲望位置的東西（ 在賽奇女神的案例，這一點被掩蓋，被遮蔽到達某一點，雖然秘密地被過時的嬰孩的生命主體感覺到），這難道不是我們能夠堂而皇之地稱我第三階段？—這個第三階段目前被描述為性器官階段—這是欲望的結合，當它牽涉到某種生命主體的要求。適當地說， 這難道不是應該找到它的指稱的東西， 它在大它者的欲望的認同？

If there is a point where desire presents itself as desire, it is indeed
there where precisely the first accentuation of Freud was constructed to situate it for us, namely at the level of sexual desire revealed in its real consistency and no longer in a contaminated, displaced, condensed, metaphorical fashion.

假如有一點，在那裡，欲望呈現它自己作為欲望， 確實就在那裡， 佛洛伊德的第一個強調被建構，為了跟我們定位它，換句話說， 在性欲望的層次，被顯示在它的真實的一貫裡，不再處於受到污染，替代，濃縮的比喻的方式。

It is no longer a question of the sexualisation of some other function,
we are dealing with the sexual function itself.

問題不再是某種其它功用的性化， 我們正在處理性的功用本身。

(8) To make you measure the paradox that it is a question of
pinpointing, I sought this morning an example to incarnate the
embarrassment of psychoanalysts in what concerns the phenomenology of this genital stage, I came across an article by Monchy on the castration complex in the International Journal.

為了要讓你們測量這個矛盾，問題是要如何確定， 我今天早上尋找一個例子具體表現精神分析師的尷尬，在這個性器官階段的現象有關的東西。在國際期刊， 我偶然看到孟奇的一篇論閹割情結的文章。

To what is an analyst who in short interests himself again in our
day – because there are not many of them – in the castration
complex led in order to explain it?

總之，在我們時代，若有精神分析師，（因為並不是很多），對於閹割情結再一次感到興趣，為了解釋它，他會被引導到哪裡？

Well, to something that you would never guess. I will summarise it for you very briefly.

呵呵，他會被引導到你們永遠猜想不到的地方，讓我簡短地跟你們總結一下。

The paradox naturally cannot fail to strike you that without the
revelation of the genital drive it is necessarily marked by this
splitting which consists in the castration complex as such, the
Trieb is for him something instinctual.

這個矛盾當然一定會讓你們印象深刻，以致於假如沒有性器官驅力的啟示，它必然是由這個分裂標示。這個分裂在於閹割情結的本身，驅力的本身，對於他而言，就是某件本能的東西。

We are dealing with someone who begins with a certain baggage (von Uexkull and Lorenz), he speaks to us at the beginning of his article of what are called congenital reaction schemes, which evokes for us the fact that in the case of little birds who have never been subjected to any experience it is enough to have a lure projected, the shadow identical to that of a hawk, of a faucon in order to provoke all the reflexes of terror, in short the imagery of the lure as the author of this article – which is
written in English – puts it in French 1’attrape.

我們正在處理某個帶著某種行李開始的人（范，烏庫爾，或洛倫茲）。他在他的文章的開頭跟我們談論，所謂的天生的器官反應的結構。這讓我們想起這個事實：在這些從來沒有接受過精神分析經驗的生手的例子， 只有投射一種誘惑就足夠了， 認同於老鷹的陰影，獵鷹的陰影，為了觸發恐怖的各種反射作用。總之， 誘惑的意象， 當這篇文章的作者雖然用英文書寫，這一點卻是用法文的語言來表達它。

雄伯譯
32hsiung@phome.com.tw
https://springhero.wordpress.com.tw

拉康論移情 0412d

拉康論移情 0412d

THE SEMINAR OF JACQUES LACAN BOOK VIII
拉康研討班第八冊

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 16; Wednesday 12 April 1961

In connection with this very pretty story of Psyche, we must not
therefore deceive ourselves in this regard, the thematic of which
there is question here is not that of the couple.

關於賽奇女神的這個美麗故事， 我們一定不要因此欺騙自己。關於這一點， 這個故事的主題，在此有個問題， 並不是這對夫妻的問題。

It is not a question of the relationships of man and woman, it is a question
of something which – you really have only to be able to read in order to see that this is only really hidden because it is in the foreground and too obvious, as in “The purloined letter” – is nothing other than the relationships of the soul to desire.

問題並不是男人與女人的關係的問題，而是某件東西的問題—你們只要能夠閱讀一下，你們就能看出，這是隱藏性的問題， 因為它就在前景，而且顯而易見， 如同在「被偷竊的信」—這個問題道道地地就是靈魂跟欲望的關係。

It is in this that the composition – I do not believe I am forcing things in saying that it is extremely gripping – of this picture, could be said to isolate for us in an exemplary fashion this tangible character imaged by the intensity of the image which is produced here, to isolate what could be a structural analysis of the myth of Apuleius which still remains to be done.

在這一點， 這幅圖畫的構成—-我並不相信我是在強迫事情，當我說，它是極端吸引人的—能夠被說成是替我們以典範的方式，跟我們孤立出這個具體的特性，這個意象的張力表現的特性， 在此所被創作的，孤立出阿普勒斯頓神話的結構分析部分， 這份工作還有待努力。

You know enough about it, I told you enough about what a structural analysis of a myth is for you to know at least that such a thing exists.

關於它，你們充分知道。我充分告訴你們，關於神話的結構分析，讓你們至少知道，這樣一個東西存在。

In Claude Lévi-Strauss the structural analysis of a certain number of North American myths is carried out, I do not see why one would not give oneself over to the same sort of analysis with regard to the fable of Apuleius.

在克勞德，列文，史特勞斯，某些北美神話的結構分析本被從事，我不明白為什麼我們自己不專注於某種分析，關於阿普雷斯的寓言。

Naturally we are, it is a curious thing, less well served for the
things that are closest to us than for others which appear to us to be more distant as regards sources, namely that we have only one version of this myth, when all is said and done that of Apuleius.

當然，這是耐人尋味的事情，對於最靠近我們的東西，我們準備比較不充分， 比起那些我們覺得比較遙遠的來源的東西。換句話說， 對於這個神話，阿普雷斯的神話，我們只有一個版本，當一切都說都做了。

But it does not seem to be impossible, within the myth, to operate in a sense which would allow there to be thrown (6) into relief in it a certain number of significant opposing couples.

但是在神話之內， 要以這種意義運作並非不可能。這種意義容許某些重要的互相對立的伴侶，被凸顯出來。

By means of such an analysis, I would say, without the help of the painter, we would perhaps run the risk of allowing there to go unnoticed the really primordial and original character of the moment, of nevertheless the best known moment, moreover everyone knows that what has remained in the collective memory about the meaning of the myth is indeed the following, it is that Eros flees and disappears because little Psyche had been
in short too curious and what is more disobedient.

憑藉這樣的分析， 我不妨說，假如沒有畫家的幫助，我們或許會冒著危險，容許這個時刻，可是又是最著名的時刻，真正原初及原創的特性，被忽略過去。而且，眾所所知， 保留在集體記憶裡， 關於神話的意義，確實就是以下： 性愛之神逃離，消失，因為總之，小賽奇女神過分好奇，而且不服從。

what is in question, what is concealed, what is hidden behind this well-known moment of the myth and of the story, would be if we are to believe what the intuition of the painter reveals to us here, nothing other therefore than this decisive moment.

受到質疑的東西，被隱藏的東西， 被隱藏在這個神話及故事，著名的時刻背後的東西，因此它道道地地就是這個決定性的時刻，假如我們想要相信，畫家的直覺顯示給予我們的。

Certainly, it is not the first time that we see it appearing in an antique myth, but whose value as an accent, whose crucial character, whose pivotal character had to wait in short for many long centuries before being, by Freud, put in the centre of the psychical thematic.

確實地， 這並不是第一次，我們看見它出現在一個古代的神話，但是它的價值，作為一種強調，它的重要的特性， 總之，它的軸心的特性，必須等待許多漫長的世紀，才被佛洛伊德放置在心理主題的中心。

It is for this reason that it is not a waste of time, having made this discovery, to tell you about it, because in short it happens to designate – in the tiny image which will remain, because of the very time that I am consecrating to it this morning, imprinted in your spirits – it
happens to illustrate that which today I can scarcely designate otherwise than the meeting point of two registers, that of the instinctual dynamic in so far as I have taught you to consider it as marked by the effects of the signifier, and to permit therefore to accentuate also at this level how the castration complex ought to be articulated, cannot even be fully articulated except by considering this instinctual dynamic as structured by this mark of the signifier.

因為這個理由， 從事這個發現後，告訴你們關於它，並不是浪費時間。因為總之，它恰好指明—在這個小小意象，它將會一直銘記在你們的精神裡， 因為今天早上我致力於它—它恰好可以作為例子說明，今天我除了以這兩個銘記的會合點，幾乎沒有別的方法指明的東西。這個本能的動力學的東西， 我曾經教導你們將它認為是由能指的影響所標記，因此在這個層次，強調閹割情結應該如何被表達。它甚至無法充分地被表達，除了考慮到這個本能的動力學，作為是能指的這個標記的結構。

And at the same time, this is the value of the image, to show us that there is therefore a superimposition or a super-impression, a common centre, a vertical direction at this point of production of the castration complex
into which we are now going to enter.

同時， 這就是這個意象的價值， 它跟我們顯示，因此會有一個超級的賦加， 或是一種超級稻印象，一個公同的中心， 一個垂直的方向，在閹割情結的產生的這個時刻，我們現在將要探討它。

Because you see that it is here that I left you the last time having taken up the thematic of desire and demand in the chronological order, but in
repeating to you at every instant that this divergence, this splitting, this difference between desire and demand which marks with its stroke all the first stages of libidinal evolution, and is determined by the nachtraglich action, by something retroactive coming from a certain point where the paradox of desire and of demand appears with the minimum of eclat, and which is really that of the genital stage, in so far as it appears that the same desire and demand should at least be able to be
distinguished there.

因為你們看出，就在這裡，我上一次離開你們，在以時間先後順序，探討欲望與要求的主題。但是在每個時刻，我都跟你們重複，在欲望與要求之間的這個分岔，這個分裂， 這個差異，用它的打擊標記力比多的進化的最初的階段，並且受到這個反彈的行動所決定， 受到某件來自某個點的反彈。在那個點， 欲望與要求的矛盾帶著少量的喝彩出現。這確實就是性器官的階段，因為似乎相同的欲望與要求至少應該能夠在那裡被區別。

They are marked by this stroke of division, of explosion which,
for analysts, consider it carefully, must still be, if you read
the authors a problem, I mean a question, an enigma more avoided
still than resolved and which is called the castration complex.

它們被這個區分的，爆炸的打擊標示。精神分析師仔細地考慮它， 它一定依舊是一個難題， 假如你們閱讀作者，我的意思是，它一定依舊是個問題， 一個謎團，被逃避的部分比被解決的部分還多。這就是所謂的閹割情結。

Thanks to this image, you have to see that the castration complex, in its structure, in its instinctual dynamic is centred in such a way that it overlaps exactly what we could call the point of the birth of the soul.

由於這個意象， 你們必須看出， 閹割情結，在它的結構裡， 在它的本能的動力學裡，它以這種方式被集中，它確實重疊我們所謂的靈魂的誕生的這個點。

雄伯譯
32hsiung@pchome.com.tw
https://springhero.wordpress.com

拉康論移情 0412c

拉康論移情 0412c

THE SEMINAR OF JACQUES LACAN BOOK VIII
拉康研討班第八冊

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 16; Wednesday 12 April 1961

Psyche herself winged with the wings of a butterfly. I have in my
possession for example Alexandrian objects in which Psyche is
represented under different aspects and frequently furnished with
butterfly’s wings; the butterfly’s wings on this occasion are the
sign of the immortality of the soul.

賽奇女神擁有蝴蝶的翅膀。 譬如，我用有亞力山大的客體，在那些客體裡，賽奇女神以不同的面貌被呈現，時常被供應有蝴蝶的翅膀。在這個場合，蝴蝶的翅膀是靈魂永生的訊息。

The butterfly having been for a very long time (given the phases of the metamorphosis that it undergoes, namely born at first in the shape of a caterpillar of a larva, it envelops itself in this sort of tomb, of
sarcophagus, enveloped in a fashion which is even going to recall
the mummy where it remains until it reemerges into the light in a
glorified form)…. the thematic of the butterfly, as signifying the immortality of the soul had already appeared since antiquity, and not only in different peripheral religions, but moreover was even used and still is in the Christian religion as symbolic of the immortality of the soul.

蝴蝶長久以來，（考慮到它經歷的蛻變的階段，也就是，剛出生時是幼蟲的毛毛蟲形狀， 它包裹它自己在這種墳墓裡， 石棺裡，被包裹的方式，甚至讓人想起木乃伊。它一停留在那裡，直到它以光輝璨爛的方式重見天日），，，蝴蝶的主題，指示著靈魂的永生，自從古代就已經出現，不但在不同的周邊的宗教，而且甚至當時被使用，現在依舊在基督教的宗教裡，作為靈魂永生的象徵。

It is in fact very difficult to deny that it is a question of what one can call the misfortunes or the misadventures of the soul in this story of which we have only, as I am telling you, a mythological text as basis, foundation of its transmission in antiquity, the text of Apuleius.

事實上，我們很難否認，在這個故事， 問題是我們能夠所謂的靈魂的不幸或災難厲險。如同我正在告訴你們，我們僅擁有神話的文本當基礎，在古代它蛻變的基礎，阿普雷斯的文本。

In this text of Apuleius, whatever may be thought of it by authors accentuating in different ways the religious and spiritual significations of the thing and who, gladly, would find that in Apuleius we only find what is properly speaking a debased, romantic form which does not permit us to reach the original import of the myth, despite these allegations, I think on the contrary that the text of Apuleius – if you refer to it you will see it – is on the contrary extremely rich.

在阿普雷斯的文本， 不管那些以不同方式強調宗教的精神意涵的作者，怎麼看待它， 這些作者很樂意發現， 在阿普雷斯，我們僅找到，適當來說，是卑下，浪漫的形式。這種形式並不容許我們到達神話的原初意義。儘管這些指控， 我的看法恰恰相反， 阿普雷斯的文本—-假如你們參照它，你們將會看出—相反地，內容極端豐富。

In the sense that this point that is in question, the one that is represented here in this moment by the painting, is only the beginning of the story, despite the fact that already we have the previous phase of what one can call not only the happiness of Psyche, but a first test namely that Psyche is at the beginning considered as being as beautiful as Venus and that it is already through the effects of a first persecution by the gods that she finds herself exposed to the fact from a rock (another form of the myth of Andromeda), to something which is going to seize her,
which must be a monster and which is found in fact to be Eros (to
whom Venus had given the charge of delivering her over to the one of whom she must be the victim).

以這個意義，受到質疑的這一點， 在此有繪畫的這個時刻代表的這一點， 僅是故事的開始， 儘管這個事實： 我們已經擁有先前的部分，對於所謂的不但是賽奇女神的快樂， 而且是一個最初的考驗，也就是， 在開始時， 賽奇女神被認為是跟維納斯女神同樣的美麗。這義經是通過被眾神早期迫害的影響， 她發現她自己暴露於從一塊岩石而來的這個事實 （安洛美達的神話的另一種形式），暴露於某件將會攫住她的東西， 這個東西一定是怪物，事實上被發現是性愛（ 對於這個性愛， 維納斯負責將她送交給必然是她的受害者之一。）

But he, in short, seduced by the one to whom he has been delegated by the cruel orders of his mother, takes her away and installs her in this profoundly hidden place where she can enjoy in short the happiness of the gods.

但是總之，由於受到誘拐， 受到他的母親的殘酷的命令指派的那個人誘拐， 他帶她離開， 安置她在這個深深隱藏的地方。總之，在那裡， 她能夠享受眾神的快樂。

The story would have ended there if poor Psyche did not have a different nature than the divine nature and did not show among other weaknesses the most deplorable family feelings, namely that she will not rest before having obtained from Eros, her unknown spouse, permission to see her sisters again – and you see that here the story takes up again…

這個故事本來會在那裡結束， 假如可憐的賽奇女神，除了神的天性外，沒有一個其它的天性，沒有在其它的弱點裡，展現最令人哀憐的家族感情。也就是說， 她要從性愛，從她未知的配偶，獲得允許再一次看到她的姐姐們，她才會安息—你們看出， 在此，故事再一次發展，，，

Therefore, before this moment there is a short period, a short moment previous to the story, but the whole story stretches out afterwards. I am not going to go right through it with you because this goes beyond our
subject.

因此， 在這個時刻之前，有一個短的時期，在故事之前的一個短的時刻。但是整個故事隨後發展。我並沒有要跟你們一口氣講完，因為這樣會超出我們的主題。

(5) What I want simply to say to you, is that when Jacopo Zucchi
produces this little masterpiece for us, it was not unknown, neither more nor less than through the brush of Raphael himself because, for example, you know that it is displayed on the ceiling and on the walls of this charming Farnese palace.

我僅是想要跟你們說，當約科普，朱奇跟我們創作這個傑作，這是廣為人知的，他道道地地就是通過拉斐爾本人的手筆， 因為，譬如， 你們知道，它被展示在這個迷人的法尼斯宮殿的天花板及牆壁上。

They are lovely scenes, almost too lovely. We are no longer, it seems, able to tolerate a sort of prettiness in which for us there seems to be degraded that which ought to have appeared, the first time that the type emerged from the brilliant brush of Raphael, as a surprising beauty.

它們是可愛的場面， 太過可愛。 似乎我們不再能夠容忍目光如豆。對於我們而言， 本來應該出現的東西被貶降下來， 第一次， 從拉斐爾的畫筆端，出現這種類型， 充當令人驚豔的美。

In truth, one must always take into account the fact that, when a certain prototype, a certain form appears, it must make a completely different impression from what it is when it has been not only reproduced thousands of times but imitated thousands of times.

事實上， 我們必須總是考慮到這個事實： 當某種類型，某種形式出現，它必須引起完全不同的印象，跟它的本質不同的印象， 當它不但被複製好幾千次，而且被模仿好幾千次。

In short, these paintings of Raphael at the Farnese give us a development,
scrupulously based on the text of Apuleius, of the misadventures of Psyche.

總之，拉斐爾的這些圖畫，在法尼斯宮殿，給予我們一個發展， 謹慎地根據阿普雷斯的文本， 賽奇女神的災難奇遇。

In order that you should not doubt that Psyche is not a woman, but indeed the soul, let it suffice for me to tell you that, for example, she is going to have recourse to Demeter who is presentified here with all the instruments, all the weapons of her mysteries (and in fact here it is a question of the mysteries of Eleusis) and that she is rejected by her. Demeter desires above all not to get into the bad books of her sister-in-law Venus.

為了不要讓你們懷疑，賽奇女神並不是一個女人， 而確實是這個靈魂。我這樣告訴你們就足夠了， 譬如， 她將求助於帝米特農神。帝米特農神在此被具體呈現擁有各種工具，她的神秘的所有的武器 （ 事實上， 在此問題是阿雷西斯的各種神秘），她被她所拒絕。 帝米特特別欲望不要被她的夫姐列入批評的黑名單。

And all that is in question is the following, it is that in short, the unfortunate soul, because she has fallen and committed at the beginning a faux pas of which she is not even guilty (because at the beginning this jealousy of Venus comes from nothing other than the fact that she is considered by Venus as a rival) finds herself tossed out, repelled from any help, even religious sources of help. And one could even carry out a little phenomenology of the unhappy soul compared to that of the
conscience qualified by the same name.

受到質疑的問題如下： 總之， 這個不幸的靈魂， 因為她已經墮落，從一開頭，就犯了失禮之罪。她甚至不覺的有何冒犯之處 ，（ 因為在一開頭，維納斯的這種妒忌，道道地地就是來自這個事實， 她被維納斯視為情敵）。她發現她自己被拋出，被拒絕給予任何幫助， 即使是宗教的幫助來源。 我們甚至稍微探討一下不快樂靈魂的現象學， 跟同樣名稱的良心的現象學相比較。

雄伯譯
32hsiung@pchome.com.tw
https://springhero.wordpress.com

拉康论移情 0412

拉康论移情 0412

THE SEMINAR OF JACQUES LACAN BOOK VIII
拉康研讨班第八册

Transference 论移情

1960 – 1961
Translated by Cormac Gallagher from unedited French typescripts
Cormac Gallagher 根据未编辑的法语录音英译

Seminar 16; Wednesday 12 April 1961

In such a way that the very gesture, stretching out, of the other arm which holds the lamp is something which is also made in order to evoke for us all the resonances precisely of this type of other picture to which I am
alluding.

以如此一种方式，这个姿态，拿着灯的另一隻手臂的延伸，是某件被制作，也是为了跟我们召唤所有的共鸣，确实是我提到的这种另类图画的共鸣。

The lamp is there suspended above the head of Eros. You know that in the story it is a drop of oil spilt in a rather sudden movement by a very emotional Psyche, which has woken Eros causing him, the story moreover specifies it for us, a wound from which he suffers for a long time.

这个灯被悬挂在爱神的头的上方。你们知道，在故事里，以相对突然的动作， 灯油被洒，被情绪激动的赛奇女神。这已经唤醒爱神引起他。而且，故事跟我们指明它，这是一个他长久以来遭受痛苦的伤痕。

Let us observe in order to be scrupulously careful that, in the
reproduction that you have before your eyes, you can see that
there is something in effect like a luminous trait which starts
from the lamp and goes towards the shoulder of Eros.

让我们观察，为了小心翼翼。在你们眼前拥有的复制品里，你们能够看出，实际上有某件东西就像一个发亮的特征，从灯开始，照向爱神的肩膀。

Nevertheless the obliqueness of this trait does not allow it to
be thought that it is a question of this drop of oil, but of a
shaft of light.

可是，这个特征的倾斜并没有容许它被认为，问题是这个灯油滴，而是一个光束。

Some people will think that there is here (3) something which is in effect quite remarkable and which represents on the part of the artist an innovation, and therefore an intention which we could unambiguously attribute to him, I mean that of representing the threat of castration applied to the circumstances of loving. I think we would have to beat a hasty retreat if we were to advance in this direction.

某些人会认为， 在此是某件东西，实际上，它相当引人注意，而且在艺术家这边，它代表一种创新，因此它是一种意图，能够毫无曖昧地归属于他。我的意思是， 代表阉割的威胁，应用到恋爱的情境。我认为我们将必须匆促地撤退，假如我们想要朝这个方向前进。

We would have to beat a hasty retreat from it because of the fact that I highlighted for you…. a point already highlighted, but which I hope has already struck some of you, it is that this story is only known to us, despite its diffusion in the history of art, through a single text, the text of Apulius, in The golden ass.

我们将必须从那里匆促地撤退，因为我跟你们强调的这个事实，，，已经被强调的这一点，但是我希望你们有些人已经对它有印象。只有我们知道这个故事，尽管它在艺术史广为流传，通过一个文本， 阿普力斯的文本「黄金驴」。

I hope for your own pleasure that you have read The golden ass, it is, I must say, a very exciting text. If, as has always been said, certain truths are included in this book, I can tell you in a mythical and picturesque form veritable esoteric and initiatory secrets, it is a truth wrapped up in the most shimmering, not to say the most arousing, the most titillating appearances.

我希望，你们曾经阅读过「黄金驴」作为欣赏。我必须说，那是很有趣的文本。 假如，如有人说过， 某些真理被包括在这本书里。我能够告诉你们可验证的奥秘而创意的秘密，以一种神秘而生动的形式。这是一个真理专注于微光闪烁，撩人心弦的表象， 姑且不说是让人情欲奋张。

Because as it first appears, it is in fact something which has not yet been superseded, even by the most recent productions with which we have been regaled in France these last years in the most characteristic erotic genre, with the whole nuance of sadomasochism which constitutes the most
common aspect of the erotic novel.

因为乍然一看，事实上，它是某件还没有被替代的东西，即使根据最近的作品，前几年我们在法国被献赏的作品，凸显性爱的艺术，具有完整的虐待狂与受虐狂的细微差别，形成性爱小说的最普遍的一面。

It is in effect in the middle of a horrible story about the kidnapping of a young girl, accompanied by the most terrifying threats to which she finds herself exposed in the company of the ass (the one who speaks in the first person in the novel) it is in an interlude, something included within this very spicy story, that an old woman, in order to distract for a moment the girl in question, the kidnap victim, recounts to her at length the story of Eros and Psyche.

实际上， 关于绑架一位少女的恐怖故事的过程， 陪伴着最恐怖的威胁，她发现她自己暴露在驴子的陪伴 （ 小说里以第一人称叙述）。就在中间插曲，某件东西被包括在这个辛辣的故事里。 一位老妇人，为了要让受到质疑的这个少女分心一下子， 这位被绑架的受害者。老妇人跟她详细地叙述爱神与赛奇女神的故事。

Now what I highlighted for you above, is that it is as a result of the perfidious insistence of her sisters who will not rest until they lead her to fall into the trap, to violate the promises that she had made to her divine lover, that Psyche succumbs.

我以上跟你们强调的是，这是由于她的姐妹们的不诚实的坚持的结果。她们若是不将她引导进入这个陷阱，她们就不甘心， 引导她违背这个渃言： 她曾经跟她的神圣的情人许下的渃言， 赛奇女神屈服。

And the final method of her sisters is to suggest that what is in question is a terrifying monster, a serpent of most hideous aspect, that undoubtedly she is in some danger with him.

她的姐妹的最后方法就是建议，受到质疑的是一种可怕的怪物，一种非常令人骇惧的蛇。无可置疑的， 她跟他在一起，陷于危险当中。

After which the mental short-circuit is produced namely that, noticing the recommendations, the extremely insistent prohibitions to which her nocturnal interlocutor has recourse, imposes on her by enjoining that in no case should she violate his very severe prohibition not to try to see him, she can only too clearly see the coincidence between this recommendation and what her sisters are suggesting to her. And it is then that she takes the fatal step.

经过这个之后，精神的短路被产生。也就是说， 注意到这个建议，她的夜间的对谈者诉诸于的极端坚持的禁令，赋加在她的身上，命令说： 无论如何，她不应该违背他的严格的禁令，那就是不应该尝试看到他。 她能够很清楚地看出这种巧合，处于这个建议与她的姐姐们跟她建议的东西之间。 因此，她採取致命的这一步骤。

In order to take it, given what has been suggested to her, what
she thinks she is going to find, she arms herself.

为了接受它， 考虑到跟她所建议的东西， 她认为她将会发现，她武装她自己。

And in this sense we can say – despite the fact that the history of art does not give us any other testimony as far as I know, I would be
grateful if someone stimulated now by my remarks brought me proof
to the contrary – [that if Psyche] has been represented at this
significant moment as armed, it is indeed from the text of Apuleius that the Mannerist in question, Zucchi, has therefore borrowed what constituted the originality of the scene.

以这个意义，我们能够说—尽管这个事实： 艺术史并没有给予我们任何其它证词，据我所知。 我将会非常感激，假如有某个人现在被我的谈论激励，带给我们相反的证据—假如赛奇女神在这个重要的时刻，被呈现作为武装自己，那确实是从阿普雷斯的文本， 格调主义的绘画受到质疑， 朱奇画家因此借用这个场景的原创性组成的东西。

What does that mean? Zucchi represents for us this scene the story of which is very widespread. At the time already it is very widespread for all sorts of reasons. If we have only a single literary testimony, we have many in the order of plastic and (4) figurative representations.

那是什么意思？ 朱奇呈现给予我们这个场景。这个场景的故事是广为流传。 在那个时候， 因为各种的理由，它已经广为流传。假如我们仅有一个文学的证词， 在雕塑及人像再现复制到层次，我们的证词可就不胜枚举。

It is said for example that the group which is in the museum of the Offices in Florence represents an Eros with a Psyche, both winged this time (you can notice that here if Eros has them, Psyche does not).

譬如，据说，在佛洛伦斯的官方博物馆，这个团体用赛奇女神来代表爱神。 这一次，两位都有翅膀 （ 你们能够注意到， 在此，虽然爱神拥有翅膀， 赛奇女神并没有）。

雄伯译
32hsiung@pchome.com.tw
https://springhero.wordpress.com

THE SEMINAR OF JACQUES LACAN BOOK VIII
拉康研讨班第八册

Transference 论移情

1960 – 1961
Translated by Cormac Gallagher from unedited French typescripts
Cormac Gallagher 根据未编辑的法语录音英译

Seminar 16; Wednesday 12 April 1961

In such a way that the very gesture, stretching out, of the other arm which holds the lamp is something which is also made in order to evoke for us all the resonances precisely of this type of other picture to which I am
alluding.

以如此一种方式，这个姿态，拿着灯的另一隻手臂的延伸，是某件被制作，也是为了跟我们召唤所有的共鸣，确实是我提到的这种另类图画的共鸣。

The lamp is there suspended above the head of Eros. You know that in the story it is a drop of oil spilt in a rather sudden movement by a very emotional Psyche, which has woken Eros causing him, the story moreover specifies it for us, a wound from which he suffers for a long time.

这个灯被悬挂在爱神的头的上方。你们知道，在故事里，以相对突然的动作， 灯油被洒，被情绪激动的赛奇女神。这已经唤醒爱神引起他。而且，故事跟我们指明它，这是一个他长久以来遭受痛苦的伤痕。

Let us observe in order to be scrupulously careful that, in the
reproduction that you have before your eyes, you can see that
there is something in effect like a luminous trait which starts
from the lamp and goes towards the shoulder of Eros.

让我们观察，为了小心翼翼。在你们眼前拥有的复制品里，你们能够看出，实际上有某件东西就像一个发亮的特征，从灯开始，照向爱神的肩膀。

Nevertheless the obliqueness of this trait does not allow it to
be thought that it is a question of this drop of oil, but of a
shaft of light.

可是，这个特征的倾斜并没有容许它被认为，问题是这个灯油滴，而是一个光束。

Some people will think that there is here (3) something which is in effect quite remarkable and which represents on the part of the artist an innovation, and therefore an intention which we could unambiguously attribute to him, I mean that of representing the threat of castration applied to the circumstances of loving. I think we would have to beat a hasty retreat if we were to advance in this direction.

某些人会认为， 在此是某件东西，实际上，它相当引人注意，而且在艺术家这边，它代表一种创新，因此它是一种意图，能够毫无曖昧地归属于他。我的意思是， 代表阉割的威胁，应用到恋爱的情境。我认为我们将必须匆促地撤退，假如我们想要朝这个方向前进。

We would have to beat a hasty retreat from it because of the fact that I highlighted for you…. a point already highlighted, but which I hope has already struck some of you, it is that this story is only known to us, despite its diffusion in the history of art, through a single text, the text of Apulius, in The golden ass.

我们将必须从那里匆促地撤退，因为我跟你们强调的这个事实，，，已经被强调的这一点，但是我希望你们有些人已经对它有印象。只有我们知道这个故事，尽管它在艺术史广为流传，通过一个文本， 阿普力斯的文本「黄金驴」。

I hope for your own pleasure that you have read The golden ass, it is, I must say, a very exciting text. If, as has always been said, certain truths are included in this book, I can tell you in a mythical and picturesque form veritable esoteric and initiatory secrets, it is a truth wrapped up in the most shimmering, not to say the most arousing, the most titillating appearances.

我希望，你们曾经阅读过「黄金驴」作为欣赏。我必须说，那是很有趣的文本。 假如，如有人说过， 某些真理被包括在这本书里。我能够告诉你们可验证的奥秘而创意的秘密，以一种神秘而生动的形式。这是一个真理专注于微光闪烁，撩人心弦的表象， 姑且不说是让人情欲奋张。

Because as it first appears, it is in fact something which has not yet been superseded, even by the most recent productions with which we have been regaled in France these last years in the most characteristic erotic genre, with the whole nuance of sadomasochism which constitutes the most
common aspect of the erotic novel.

因为乍然一看，事实上，它是某件还没有被替代的东西，即使根据最近的作品，前几年我们在法国被献赏的作品，凸显性爱的艺术，具有完整的虐待狂与受虐狂的细微差别，形成性爱小说的最普遍的一面。

It is in effect in the middle of a horrible story about the kidnapping of a young girl, accompanied by the most terrifying threats to which she finds herself exposed in the company of the ass (the one who speaks in the first person in the novel) it is in an interlude, something included within this very spicy story, that an old woman, in order to distract for a moment the girl in question, the kidnap victim, recounts to her at length the story of Eros and Psyche.

实际上， 关于绑架一位少女的恐怖故事的过程， 陪伴着最恐怖的威胁，她发现她自己暴露在驴子的陪伴 （ 小说里以第一人称叙述）。就在中间插曲，某件东西被包括在这个辛辣的故事里。 一位老妇人，为了要让受到质疑的这个少女分心一下子， 这位被绑架的受害者。老妇人跟她详细地叙述爱神与赛奇女神的故事。

Now what I highlighted for you above, is that it is as a result of the perfidious insistence of her sisters who will not rest until they lead her to fall into the trap, to violate the promises that she had made to her divine lover, that Psyche succumbs.

我以上跟你们强调的是，这是由于她的姐妹们的不诚实的坚持的结果。她们若是不将她引导进入这个陷阱，她们就不甘心， 引导她违背这个渃言： 她曾经跟她的神圣的情人许下的渃言， 赛奇女神屈服。

And the final method of her sisters is to suggest that what is in question is a terrifying monster, a serpent of most hideous aspect, that undoubtedly she is in some danger with him.

她的姐妹的最后方法就是建议，受到质疑的是一种可怕的怪物，一种非常令人骇惧的蛇。无可置疑的， 她跟他在一起，陷于危险当中。

After which the mental short-circuit is produced namely that, noticing the recommendations, the extremely insistent prohibitions to which her nocturnal interlocutor has recourse, imposes on her by enjoining that in no case should she violate his very severe prohibition not to try to see him, she can only too clearly see the coincidence between this recommendation and what her sisters are suggesting to her. And it is then that she takes the fatal step.

经过这个之后，精神的短路被产生。也就是说， 注意到这个建议，她的夜间的对谈者诉诸于的极端坚持的禁令，赋加在她的身上，命令说： 无论如何，她不应该违背他的严格的禁令，那就是不应该尝试看到他。 她能够很清楚地看出这种巧合，处于这个建议与她的姐姐们跟她建议的东西之间。 因此，她採取致命的这一步骤。

In order to take it, given what has been suggested to her, what
she thinks she is going to find, she arms herself.

为了接受它， 考虑到跟她所建议的东西， 她认为她将会发现，她武装她自己。

And in this sense we can say – despite the fact that the history of art does not give us any other testimony as far as I know, I would be
grateful if someone stimulated now by my remarks brought me proof
to the contrary – [that if Psyche] has been represented at this
significant moment as armed, it is indeed from the text of Apuleius that the Mannerist in question, Zucchi, has therefore borrowed what constituted the originality of the scene.

以这个意义，我们能够说—尽管这个事实： 艺术史并没有给予我们任何其它证词，据我所知。 我将会非常感激，假如有某个人现在被我的谈论激励，带给我们相反的证据—假如赛奇女神在这个重要的时刻，被呈现作为武装自己，那确实是从阿普雷斯的文本， 格调主义的绘画受到质疑， 朱奇画家因此借用这个场景的原创性组成的东西。

What does that mean? Zucchi represents for us this scene the story of which is very widespread. At the time already it is very widespread for all sorts of reasons. If we have only a single literary testimony, we have many in the order of plastic and (4) figurative representations.

那是什么意思？ 朱奇呈现给予我们这个场景。这个场景的故事是广为流传。 在那个时候， 因为各种的理由，它已经广为流传。假如我们仅有一个文学的证词， 在雕塑及人像再现复制到层次，我们的证词可就不胜枚举。

It is said for example that the group which is in the museum of the Offices in Florence represents an Eros with a Psyche, both winged this time (you can notice that here if Eros has them, Psyche does not).

譬如，据说，在佛洛伦斯的官方博物馆，这个团体用赛奇女神来代表爱神。 这一次，两位都有翅膀 （ 你们能够注意到， 在此，虽然爱神拥有翅膀， 赛奇女神并没有）。

雄伯译
32hsiung@pchome.com.tw
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拉康論移情 0412

拉康論移情 0412

THE SEMINAR OF JACQUES LACAN BOOK VIII
拉康研討班第八冊

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 16; Wednesday 12 April 1961

It is not because one” may seem to have diverted from what is at
the centre of your preoccupations that one does not rediscover it
at the extreme periphery. This is what, I believe, happened to
me almost without my noticing it in the Borghese Gallery in the
most unexpected place.

這並不是因為我們似乎從你的專注的中心轉移，我們因此沒有在極端的邊緣發現它。 我相信，這就是我所發生的事情，我自己幾乎沒有注意到它，在柏格西斯美術展示館，在最意想不到的地方。

My experience has always taught me to look at what is near the lift, which is often significant and which people never look at.

我的經驗總是教導我觀看電梯附近的東西，這個東西總是有意義，但是人們從來沒有觀看它。

The experience transferred to the museum of the Borghese Gallery (which is quite applicable to a museum) made me turn my head on leaving the lift thanks to which I saw something – at which people really never stop, I have never heard anyone ever speak about it – a picture by someone called
Zucchi.

被轉移到柏格西斯美術博物館的經驗，（美術展示館也兼當博物館），讓我的頭腦轉離開電梯。 由於這個電梯，我看到某個東西—在那裡，人們確實從來沒有停下來。我從來沒有聽見任何人談論到它—這一幅由名叫朱奇所繪的圖畫。

He is not a very well known painter, even though he has not completely escaped from the meshes of the critical net. He is what is called a Mannerist from the first period of Mannerism, in the XVIth century. His dates are approximately 1547-1590, and what is in question is a painting called “Psyche surprises Amore”, namely Eros.

他並不是一位很著名的畫家，即使他並沒有完全逃避批評之網的糾纏。他是從格調主義的初期以來所謂的格調主義者，在十六世紀。 他的日期大約是1547-1590. 受到質疑的是一幅圖畫，被稱為「賽奇女神讓阿莫驚豔」，也就是「愛神」。

It is the classical scene of Psyche raising her little lamp on
Eros who for some time has been her never glimpsed nightly lover.
You have of course, I think, some idea of this classical drama.
Psyche favoured by this extraordinary love, that of Eros himself,
enjoys a happiness which could have been perfect if she had not
been overtaken with curiosity to see who was involved.

這是古典的場景，賽奇女神舉起她的燈，放在愛神身上。有段時間，愛神就是她從來沒有瞥視的過夜情人。當然，你們會聯想到這個古典的劇情。 賽奇女生受到這個奇特的愛的眷顧， 愛神他本人的愛。她享受本來會上一種完美的快樂，假如她沒有被好奇心追上，為了要看出，愛她的是誰。

It is not that she had not been warned by her lover himself never to
try, under any circumstances, to throw light on him, without him
being able to say what sanction would result from it, but the insistence is extreme.

不是因為她沒有被她的情人本人警告，無論在任何情況之下，都不要讓他現出真相，假如他無法說出這樣的結果會是什麼， 但是這個堅持非常強烈。

Nevertheless Psyche cannot do otherwise than end up doing it and, at that moment, the misfortunes of Psyche begin. I cannot tell you them all. I would like first of all to show you what is in question, because moreover this is what is important in my discovery. I obtained two copies of it
and I am going to pass them round.

可是， 賽奇女神無法做別的事，結果就是做了它。 在那個時候， 賽奇女神的不幸就開始了。 我無法詳述一切。 首先，我想要跟你們顯示，什麼受到質疑，因為這是我的發現的重點。 我擁有兩幅它的摹本，我將它們傳遞給你們看。

I reduplicated these two reproductions with a sketch done by a painter who even those who do not know my family relationships will I hope recognise, and who was kind enough this morning, because of a wish to please me, to make for you this sketch which will allow me to highlight what is in question in the demonstration.

我複製這兩幅摹本，由一位畫家所做的描繪。這位畫家，即使對我的家族關係不熟悉的人，我希望也會認出。今天早上，由於願意取悅於我，他足夠好心跟你們做這個描繪。這個描繪容許我能夠強調展示受到質疑的東西。

You see that the sketch corresponds in its significant lines at least to what I am in the process of circulating.

你們看出，這個描繪以它的重要的線條，至少對應我正在廣為流通的過程。

(2) I thought I should see this place on the Palatine that Commandant Boni, about fifty years ago I think, thought he could identify with what the Latin authors call the Mundus■ I managed to go down into it, but I’m afraid that it is nothing more than a cistern, and I managed to get a sore throat there….

我認為我應該看見巴拉庭這個地方， 我認為在大約五十年前，柏尼校長認為他能辨認拉丁學者所謂的「the Mundus■」。我設法對它追根究底，但是我恐怕，那僅就是一個水槽而已。我喝那裡的水，喉嚨痛起來。

I do not know if you have already seen the subject of Eros and
Psyche treated in this fashion. For my part what struck me
(this has been treated in innumerable ways, both in sculpture and
in painting) ….

我並不知道你們是否看見過愛神與賽奇女神的這個主題，以這種方式被處理。 就我而言， 讓我印象深刻的是（ 這個主題曾經被處理，以無數的方式，在雕塑及在繪畫），，，

I never saw Psyche appearing armed in a work of art, as she is in this picture, with what is represented there very vividly as a little cutting instrument and which is precisely a scimitar in this picture.

我從來沒有看見賽奇出現在藝術作品裡是盛裝打扮，因為她在這幅圖畫裡，帶著生動被代表的作為一把小小的切割工具， 在圖畫裡，確實就是一把短彎刀。

On the other hand, you will notice that what is here significantly projected in the form of the flower, and of the bouquet of which it forms a part and of the vase also in which it is inserted, you will see in the
picture in a very intense, very marked fashion, that this flower is properly speaking the visual mental centre of the picture.

在另一方面， 你們將會注意到， 在此明顯被投射的，以花及花束的形態，它形成它們的一部分，還有它被插入的花瓶。你們在圖畫裡將會看出，以一種非常強烈明顯的方式，這朵花，適當來說， 就是圖畫的視覺的精神中心。

It is so in the following fashion, this bouquet and this flower are put in the foreground and are seen, as they say, against the light, namely that this looks here like a black mass; it is this which is treated in a fashion that gives to this picture the character that one can call Mannerist. It is drawn in an extremely refined way. There would certainly be things to say about the flowers which are chosen in this bouquet.

用以下的方式， 這個花束及這朵花被放置在前景，然後如人們所說的，以這個光線為背景，被看見。 換句話說， 這個東西在此看起來像一個黑色的東西。這個被處理的方式，賦予這幅圖畫這個特性，我們能夠稱為格調主義。 它被描繪的方式極其精緻。 關於這個花束裡被選擇的那些花，確實有些東西值得一談。

But around the bouquet, coming from behind the bouquet, there radiates an intense light which falls on the elongated thighs and the stomach of the personage who symbolises Eros.

但是環繞這個花束，有道強烈的光照射，來自花束背後。 這道光落在這個人物的伸長的大腿及肚子上。這個人物象徵愛神。

And it is really impossible not to see here, designated in the most precise
fashion and as it were by the most solidly supported index, the organ which must anatomically be concealed behind this mass of flowers, namely very precisely the phallus of Eros.

在此我們不可能不注意到這個器官，它以明確的方式被指明， 所謂的線條分明。這個器官從解剖方式來說，被隱藏在這把花束背後。換句話說，那確實就是愛神的陽具。

This is seen in the very manner of the picture, accentuated in such a
fashion that it cannot be a question here of an analytic interpretation, that there cannot fail to be presented in the representation the thread which unites this menace of the cutting instrument to what is properly speaking designated for us here.

從圖畫的方式被看見，以如此的方式被強調，在此並不是分析解釋的問題，這個線索一定會被呈現在複製裡。這個線索連接這個切割工具的威脅，跟適當來說在此跟我們指明的東西。

In a word, it is worthwhile designating the thing precisely
because of the fact that it is not frequent in art. Judith and
Holofernes have been frequently represented for us, but all the
same for Holofernes, it is not what is in question here, it is
“off with his head”.

總之， 這個東西確實值得指明，因為這個事實：它在藝術中並不常見。 朱帝斯及荷洛佛尼斯的圖畫，曾經時常拿來跟我們被作為代表，但是那仍然是荷洛佛尼斯， 這並不是在此受到質疑的東西， 而是「他的頭被切割掉」，

雄伯譯
32hsiung@pchome.com.tw
https://springhero.wordpress.com

拉康論移情 0322g

拉康論移情 0322g

THE SEMINAR OF JACQUES LACAN BOOK VIII
拉康研討班第八冊

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 15:Wednesday 22 March 1961

What does he not have, and in what sense? It is not towards the
phallus (even though one could make the dialectic of being and
having revolve around it) that you ought to direct your gaze to
understand properly what is the new dimension that the entry into
the phallic drama introduces.

他沒有什麼？從那個意義說? 這並不是朝向陽具， （即使我們能夠讓實存於擁有的辯證法環繞它旋轉），你們應該引導你們的眼光，適當地瞭解，這個新的維度是什麼? 進入陽具戲碼介紹的維度。

What he does not have, what he does not dispose of at this point of birth, of revelation of genital desire, is nothing other than his act. He has nothing but a draft on the future. He establishes the act in the field
of project.

在出生的時刻，在性器官的欲望的啟示，他所沒有的東西，他沒有處理的東西， 道道地地就是他的行動。 他僅有以未來作為構想。 他建立他的行動，在計畫的領域。

I would ask you to notice here the force of linguistic determinants through which, just as desire took on in the conjunction of Romance languages this connotation of desiderium, of mourning and of regret, it is not nothing that the primitive forms of the future should have been abandoned in favour of a reference to having. Je chanterai, is exactly what you see written: je chanter-ai, effectively this comes from cantare habeo.

我將要求你們在此注意語言學的決定因素的力量。通過語言學決定因素， 正如欲望在羅馬語系的連接裡，具有哀傷與後悔的內涵，未來的原始形式本來應該被放棄，以贊同擁有的指稱， 並不是徒勞無益。 這確實是你們看到被書寫的東西： 擁有的指稱， 有效地，這來自「antare habeo先前擁有」。

The decadent Romance tongue found the surest path the true sense of the future: I shall make love later, I have making love as a draft on the future, je desirer’ai. And moreover this habeo leads on to the debeo of the symbolic debt, to a habeo that is deprived. And it is in the future that this debt is conjugated when it takes the form of commandment: “Thou shalt
honour thy father and thy mother”, etc.

頹廢的羅馬語言找到確實的途徑，作為未來的真實意義：我以後將要做愛，我將做愛，作為將來的一種構想。 而且， 這個「habeo 擁有」導致「debeo擁有」這個詞在符號的歸功，由於「habeo」這個詞被剝奪。就在未來，這個歸功被結合，當它形成這個命令的形式：「你應該尊敬你的父親與你的母親」，等等。

But – and it is here that I want today only to keep you on the verge of what results from this articulation, which no doubt is slow, but done precisely so that you will not rush too quickly into it – the object in question, separated from desire, the object phallus, it is not the simple specification, the homologue, the homonym of the imaginary little o into which there collapses the fullness of the Other, of the big 0.

但是—就在這裡， 我今天僅是想要保持你們，在這個表達的結果的邊緣。這個表達無疑是緩慢，但是確實會被表達， 這樣你們才不會太匆促就掉進去—受到質疑的這個客體， 跟欲望分開， 這個陽具的客體， 這並不是簡單的指明， 這個想像的小客體的相同之物， 同音異義。 大它者的充實， 這個大寫字母O的充實， 在那裡崩塌成為這個小客體。

It is not a specification which has finally come to light of what had
previously been the oral object, the anal object. It is something – as I indicated to you from the start, at the beginning of this discourse today, when I marked out for you the first encounter of the subject with the phallus – it is a privileged object in the field of the Other.

最後啟明先前是口腔客體，肛門客體的東西， 並不是一個明確的指稱。這是某件東西—如同我從一開始就跟你們指示的， 在今天論述的開始， 當我跟你們標示生命主體的第一次邂逅陽具—這是一個具有特權的客體，在大它者的領域。

It is an object which comes by way of deduction from the status of the Other, of the big Other as such. In other words, the little o, at the
level of genital desire and of the castration phase, whose precise articulation all of this as you clearly perceive is constructed in order to introduce you to, the little o is the 0 minus phi, o = 0 – J> .

這是一個客體，經由大它者的地位扣除而來，經由這個大它者的本身。 換句話說，這個小客體， 在性器官欲望層次，在閹割部分的層次，它的確實的表達， 所有這一切，如你們清楚感覺到的，它們被建構，為了介紹你們到，這個小客體， 就是大它者扣減陽具，, o = 0 – J>。

In others words it is from this angle that the © (phi) comes to symbolise what is lacking to the 0 in order to be the noetic 0, the 0 in full exercise, the Other in so far as one can trust its response to the demand.

換句話說， 就是從這個角度， 這個(phi) 漸漸象徵大它者欠缺的東西， 為了成為這個純粹知性的大它者， 這個充分運作的大它者， 我們能夠信任它的回應這個要求的大它者。

The desire of this noetic Other is an enigma, and this enigma is tied into the(9) structural foundation of its castration. It is here that there is going to be inaugurated the whole dialectic of castration.

這個純粹知性的大它者的欲望是一個謎團。這個謎團跟它的被閹割的結構的基礎緊密相連。就在這裡， 閹割的整個辯證法將會被開始運作。

Pay attention now not to confuse either this phallic object with
this same sign which would be the sign at the level of the Other
of its lack of response, the lack of which there is question here
is the lack of the desire of the Other.

現在請注意，不要將這個陽具的客體，跟這個相同的訊息混淆。後者是大它者層層的訊息， 是它的回應的欠缺的訊息。對於這個回應的欠缺， 在此有一個問題。那就是大它者的欲望的欠缺。

The function that this phallus is going to take on in so far as it is encountered in the field of the imaginary, is not to be identical to the Other, as designated by the lack of a signifier, but to be the root of this lack.

這個陽具將會具有這樣的功用，當它在想像界的領域被邂逅時。 它不應該等同於就是大它者，如同一個能指點欠缺所指明的， 而是要等同於這個欠缺的根源。

It is the Other who is constituted in what is certainly a
privileged relationship to this object (phi), but a complex
relationship. It is here that we are going to find the point of
what constituted the impasse and the problem of love which is
that the subject cannot satisfy the demand of the Other except by
lowering it again, by making of him, this other, the object of
his desire.

這個大它者被組成，跟陽具這個客體確實具有特權的關係。 就在這裡， 我們將要找到形成愛的這個僵局及難題的這個點。這個僵局與難題就是：生命主體無法滿足大它者的要求，除了再一次降低它，將它解釋為，這個大它者，就是他的欲望的客體。

雄伯譯
32hsiung@pchome.com.tw
https://springhero.wordpress.com