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

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