西苏论巴斯莎芭沐浴图 10

22. And the Curtain? Or the frame?
To see the ox we must enter into the painting. The ox is framed. The frame is in the
interior of the painting.
The painting has two doors. One in front. One in back. Let’s enter. We enter by the
front door. We’re standing in the cellar. The ox is a lamp, an enormous hanging lamp. It
is the aster of this night. It irradiates.

22、 帘幕？或框架
为了看见公牛，我们进入图画。公牛被局限在框架里。框架在图画的内部。
图画拥有两道门。一道是前面；一道是后面。让我们进入。我们从前门进入。我们站在地窖里。公牛是一盏灯，一盏巨大的垂吊灯。公牛是这个夜晚的萤光。它发出光亮。

The ox is beautiful.
The ox shines in the darkness. Where? Back of a shop? Cellar? Tomb? The ox is a
gigantic ingot of flesh.
The ox is bound. The ox is nude.
Who are we contemplating? Samson’s truth, or Rembrandt’s. The blind, the freed, the
powerful slaughtered. The gazed upon. Who by their magnificent helplessness fill us with
wonder.

公牛是美丽的。
公牛在黑暗中闪亮。在那里？在商店的后面？地窖?坟墓？公牛是巨大的肉身的块状。
公牛被绑住。公牛赤裸裸。
我们正在沉思谁？参森的真理，或林布兰的真理？眼睛被弄瞎者，被解放者，强壮力气者被屠杀。被凝视者。是谁凭借他们的辉煌的无助，让我们惊奇不已？

The Vanquished sparkles. (Vanquished but Strong)
Nothing less ‘realistic.’ To paint this. With what admiration. What love.
The ox is hurled to the bottom. And there are no angels. The huge body is sideways.
Everything adds to the impression that someone has left it all alone.
All of a sudden I see: it’s about our captivity.

被征服者闪耀。（虽然被征服，但是强壮）
这是最为「写实的」。为了绘画这个，用怎样的崇敬，用怎样的爱。
公牛被投掷到底段。没有天使在那儿。巨大的身躯横垂著。
每样东西都增添这个印象: 某个人将它单独留置。
突然地，我看见：那是关于我们的被俘虏。

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精神病 340

精神病 340
雅克、拉康

Thou art the one who will follow me presupposes, I am saying, the imaginary
assembly of those who are the supports of the discourse, the presence of
witnesses, indeed, of the tribunal before which the subject receives the warning
or the opinion that he is called upon to reply to. As a matter of fact,
unless he replies I follow you, that is, unless he complies, there is at this level
no other response open to the subject than to maintain the message in the
very state in which it was sent to him, at the very most modifying the person,
than to inscribe it as an element of his internal discourse, which whether he
likes it or not is what he has to reply to in order not to follow it. It would
strictly speaking be necessary that he precisely not follow this indication at
all onto the terrain where it calls on him to reply, that is, that he refuse to
hear. He is taken there as soon as he hears. The refusal to hear is a force that
no subject, without special gymnastic training, is really capable of. It’s in this
register that the particular force of discourse becomes apparent.

我正在说的是，「你是愿意跟随我的人」预先假设那些人们的想像的集会，支持辞说的那些人们，见证人的存在。的确，法庭的存在。在这个法庭之前，主体接收他被召唤来回答的警告或意见。事实上，除非，他回答「我跟随你」，也就是说，除非他同意，在这个层次，并没有其他的回答开放给主体，除了就是维持这个讯息，在它被送给他的这个状态，在最修饰者，这个人。除了就是铭记它，作为他内部辞说的元素。无论他喜欢与否，这个辞说就是他必须回答的东西，为了跟随它。严格来说，这将是必要的，他根本就不应该遵循这个指示，进入它召唤它回答的这个平台。换句话说，他应该拒绝去听见。当他一听到，他就被带到那里。拒绝去听见是一个力量，没有主体能够做到的力量，假如没有经过特别的运动的训练。就在这个铭记，辞说的这个特别的力量变得明显。

In other words, at the level we have come to the .you is the other such as I
cause him to be seen [lefais voir] by means of my discourse, such as I designate
him or denounce him, he is the other insofar as he is captured in ostension
in relation to this everybody that the universe of discourse presupposes.
But by the same token I bring the other out of this universe, I objectify him
within it, I may even designate his object relations for him, should he so
much as ask me to, as is characteristic of the neurotic. That may go quite a
long way.

换句话说，大他者就在我们来到的这个「你」的层次，譬如，我让他被看见，凭借我的辞说，譬如我指明它，或抨击他，他就是这个大他者。因为他在伪装当中被捕捉，跟辞说的宇宙预先假定的「每个人」相关。但是同样地，我将大他者从这个宇宙带出来。我将他在宇宙之年客体化。我甚至指明他的客体关系，对于他而言。万一他甚至要求我，这是神经症者的特性。那可能相当过分。

Notice that it’s not entirely useless to give people what they ask for. It’s
just a question of whether it’s beneficial. In fact, if this has any incidental
effect, it’s insofar as it helps him to complete his vocabulary.

Those who
operate with object relations believe they are actually designating them, and
consequently it’s only rarely, and then by pure chance, that any beneficial
effect is produced. Completing his vocabulary may enable the subject to extract
himself from the signifying entanglement that constitutes the symptomatology
of his neurosis.

那些运作客体关系的人们相信，他们确实是在指明他们。结果，仅是罕见地，然后纯粹偶然地，任何有利的影响被产生。完成他的词汇可能让主体能够从能指化的纠缠挣脱出来。这种纠缠形成他的神经症的病症。

This is why things worked better whenever this addition
to the vocabulary, this Nervenanhang, to use the vocabulary of our delusional,
had still retained some of its freshness. Since then, what we have at our
disposal in our little exercise books as has greatly fallen in
value and doesn’t quite fill the function that one might hope for concerning
the resubjectification of the subject, by which I designate the operation of
extracting oneself from this signifying entanglement in which we have out-
lined the essence and very forms of the neurotic phenomenon.

这就是为什么事情运作得比较好，每当词汇的这种增加，使用我们的妄想症的词汇，依旧保留某些它的新鲜性。自从那时，我们能够利用到的东西，在我们那些小本的运动书，譬如Nervenanhang，价值就衰微。它并没有完全填补我们希望的这个功能，关于主体的重新主体化。凭借这个主体化，我指明这种运作，将自己从能指化的纠缠挣脱出来。在这种纠缠里，我们描绘神经症现象的本质与各种形式。

To handle this
object relation correctly, one would need to understand that in this relation
it’s the neurotic who is ultimately the object. It’s even for this reason that he
got lost as subject and seeks himself as an object.

为了正确地处理这个客体关系，为们将需要理解，在这个关系，神经症最后成为客体。甚至因为这个理由，他迷失作为主体，并且寻找他自己，作为客体。

雄伯译
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西苏论巴斯莎芭沐浴图 9

21. We, we have lost our heads a bit?
For we are on the road to our most violent, most foreign fellow-creature.
The Ox. The Hermit. The Turned Upside Down. The Acrobat. The Paralyzed. The
Ancient Choir. The Truth. You, as I see you when I see you as you really are: and to do
this I have to draw the curtains aside, to slaughter you, to open you up—(with my gaze
only). And then, naturally, it is me that I see, it is us, nude, it is our nuditude,8
magnificent, our power bound, our shining blindness.

21、 我们，我们已经有点迷失了我们的头脑？
因为我们朝向我们最暴力，最陌生的同胞的途中。
牛，隐士。翻转的颠覆。特技表演。麻痹症。古代合唱队。真理。你，如同我看见你，当我看见你，依照你本来的样子。为了这样做，我必须将帘幕拉开一旁。为了屠杀你，为了打开你—（仅是用我的凝视）。然后，自然地，我看见的是我。是我们，赤裸，这是我们的裸身，光辉灿烂，我们被拘束的力量，我们闪亮的盲目。

Why do we adore The Slaughtered Ox? Because without our knowing it or wanting it,
it is our anonymous humanity. We are not Christ, never, Christ…no I will not speak of
this.
Stigmata 12
We are this creature, which ‘even turned upside down and decapitated and hung
beneath the earth—when it is seen with those eyes that don’t reject the below, that don’t
prefer the above—maintains its majesty.

为什么我们崇拜「被屠杀的牛」？因为那是我们自己匿名的人性，即使我们不知道它，不要它。我们并不是耶稣基督，永远不是，耶稣基督、、、不，我将不谈论这个。
圣痕 12
我们就是这个动物，维持它的威严的动物，即使被翻转颠倒，被砍头，被垂吊在地底下。假如人的眼睛不排斥底下，不偏爱上面，他们会看得出来。

Figure 1.3 Rembrandt, The
Slaughtered Ox, 1655. Paris, Musée du
Louvre.

林布兰图画1.3 「被屠宰的牛」，1966年，巴黎，罗孚宫。
。
Bathsheba or the interior Bible 13
Behold the portrait of our mortality. The being hung (by its shins), turned upside
down, twice decapitated.
What we become under the ax and the slicer.
There is a butcher shop on our life’s path. As children we would pass trembling before
the butcher’s window. Later on we want to forget death. We cut the dead one up into
pieces and we call it meat.

巴斯莎芭或内部的圣经 13。
请你们注意我们作为肉身的这幅肖像。从足胫被垂吊的翻转的生命，被砍头两次。
在斧头与利刃之下，我们变成的样子。
在我们生命成长的途中，存在着一家屠宰店。小孩时，我们经常经过，屠宰点的前面，恐惧战傈。后来，我们想要忘记死亡。我们将死去的牛切成为碎片。我们称它为牛肉。

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精神病 339

精神病339

雅克、拉康

 

2

We can’t exhaust everything proposed to us concerning the analysis of this

 verb to be by the philosophers who have centered their meditation on the

question of Dasein, and especially Mr. Heidegger, who has begun to consider

it from the grammatical and etymological angle in texts that are quite faithfully

expounded in several articles that Monsieur Jean Wahl has recently

devoted to them.

 

我们无法穷尽一切哲学家跟我们建议的东西，关于这个「成为」的动词的分析。那些哲学家曾经专注他们的沉思，在「生命实存」的问题，特别是海德格。他曾经开始考虑这个问题，从文本里的文法及字源学的角度。这些文本在好几篇文章里，相当忠实地被诠释。曾、瓦尔最近探讨这些文本的文章。

 

Mr. Heidegger attaches a great deal of importance to the signifier at the

level of the analysis of the word and of conjugation, as it’s usually called –

let us more accurately say declension. In German as in French this famous

verb to be is far from being a simple verb and even from being one single

verb.

 

海德格非常重视这个能指，从字词与动词变化的分析的层次，如它通常被称呼的。让我们更加正确地说，词类变化。在德文，如同在法文，「成为」的这个著名的动词，丝毫不是一个简单的动词，甚至，根本就不是单一的动词

 

It’s evident that the form suis, am, doesn’t come from the same root as

e$, art, est, is, Stes, [you] are, and as fut, [it] was, nor is there any strict equivalence

to the form iti, been. Whereas fut has an equivalent in Latin, as does

suis and the series of est, iti comes from another source, from stare. The

distribution is equally different in German where sind, [they] are, is grouped

with bist, art, whereas in French the second person is grouped with the third.

 

显而易见，am 的这个形式，并不是来自跟 is， are，was  相同的字根。也没有任何严格的相等语，跟been 的这个形式。虽然 fut 在拉丁文有一个相等语，如同suis 与est 的系列，来自于另外一个来源，来自stare。在德文，这个分佈同样地不同。在德文，sind （are），跟bist，art 聚拢一块。虽然在法文，第二人称跟第三人称聚拢一块。

 

Three roots have been more or less uncovered for all the European languages,

those that correspond to sommes, [we] are, est and fut, which has been compared

with the root phusis in Greek, which is related to the idea of life and

growth. As to the others, Mr. Heidegger insists upon the two aspects, Sten

which would be closer to stare, to stand alone, and Verbahen, to last, to endure,

this sense being nevertheless attached to the source phusis. According to Mr.

Heidegger, the idea of standing erect, the idea of life and the idea of lasting,

enduring, is therefore what an etymological analysis combined with a grammatical analysis yields, and it’s out of a kind of reduction or of indeterminationcast over these senses as a whole that the notion of being emerges.

 

对于所有的欧洲的语言，三个字根曾经被揭露得差不多。对应于sommes, [we] are, est and fut,的那些字根，曾经被拿来跟希腊文的phusis的字根作比较。它跟生命与成长的观念息息相关。至于其他的字根，海德格坚持两个层面，比较靠近stare,单独存在的sten。而Verbahen是延续，持久。这些意义仍然跟phusis的来源息息相关。依照海德格，挺直站立的观念，生命的观念，延续，持久的观念，因此就是字源的分析跟文法的分析产生的东西。生命实存的观念的出现，就是这些时态作为整体投射的不确定的还原。

 

I summarize, so as to give you some idea of the thing. I must say that an

analysis of this order is rather inclined to elide, to mask, what Mr. Heidegger

is trying to initiate us into, namely that which is absolutely irreducible in the

function of the verb to be, the copulatory function pure and simple. One

would be mistaken to think that this function is disclosed through a gradual

shift in direction of these various terms.

 

我总结一下，为了让你们稍微理解这个物象。我必须说，这个秩序的分析相当倾向于闪躲，遮蔽。海德格尝试启发我们进入，也就是，绝对无法还原的东西，在to be这个动词的功能，纯净而简单的交媾的功能。假如我们认为，这个功能的显露，是通过缓慢的转变，朝著这些各式各样的术语的方向，那你们就错误了。

 

We raise this question – at what moment and by what mechanism does the

you, such as we have defined it as a form of punctuation, as an indeterminate

signifying mode of hooking on, achieve subjectivity? Well then, I believe that

it’s essentially when it’s taken in the copulatory function in pure form and in

the ostensive function. And it’s for this reason that I chose the exemplary

sentences that we started with – thou art the one who. . . .

 

我们提出这个问题—在什么时刻，凭借怎样的心理机制，这个「你」如何完成主体性？如同我们曾经定义它，作为一种标点的形式，作为挂钩的不确定度能指的模式。呵呵，我相信，这基本上它被看待，用单纯形式的交媾的功能，及伪装的功能。因为这个理由，我选择我们开始使用的这些例句的句，「你是、、、、这个人」。

 

Which element is it that, elevating the you, makes it go beyond its indeterminate

function of boredom and begins to turn it, if not into subjectivity,

then at least into something that constitutes a first step towards the Thou art

the one who wilt follow me? It is the It i$ thou who will follow me. This is

ostension, which in fact implies the presence of the assembly of all those who,

whether or not united into a community, are supposed to form its body, to

be the support of the discourse in which ostension is inscribed. This it is thou

corresponds to the second formula, namely, thou art the one who will follow

 

是什么元素提升这个「你」，让它超越它的不确定的无聊的功能，然后开始转变它，即使不是成为主体性，那么至少也是成为某件形成最初的起步，朝向「你是我要你跟随我的人」。那就是「愿意追随我的人是你」。这是伪装。事实上，它暗示着所有那些人们的聚会的存在。无论有没有团结成为一个社区，他们被认为形成它的团体，成为这个辞说的支持。伪装被铭记的辞说里。这个「就是你」对应于第二个公司，也就是，「你是愿意跟随我的人」。

 

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西苏论巴斯莎芭沐浴图 8

20. I see St Matthew and the Angel
What I love is: the proximity of the invisible.
And the hand on the shoulder. The voice’s hand. Because the mystery of the voice is
this: it is that it touches us. And also this angel so close, so flesh—who is but a head and
a hand: (The body…we imagine it.) The angel, I mean to say the voice, the body is: ‘on
tiptoe.’ It is the tension. Toward the ear we’re aiming for.

20、 我看见圣马太与天使
我所爱的东西是：不可见物的邻近。
手放置在肩膀上。声音的手。因为声音的神秘是这个：那是因为声音碰触我们。这位天使也如此靠近，如此具有肉身—她仅是一个头与一隻手。（身体、、、我们想像它。）天使。我意图要说，这个声音，这个身体是：「躡著脚尖」。这是紧张。朝向我们正在目标向著的耳朵。

I approach: the truth is that the angel is a part of St Matthew. This man has an
enormous square build. He radiates force, ruggedness, the wind. He passes from the road
and the forest to the writing table. His cheeks are struck by the air. Colored by
intemperate weather. One would think an earthly sailor, a woodcutter, a giant tamed by
tenderness. A heavy handsome man touched by grace. The angel is his grace. Rembrandt
paints to the letter: that which was metaphor is made flesh. The voice comes from very
far, very near. With all his weight, with his whole forehead, his whole mane, the man
listens. The voice (of the angel) passes through his throat.

我接近：真理是，天使是圣马太的一部分。这个人拥有魁梧健壮的身躯。他焕发力量，粗旷，风吹。他通过道路与森林，到达写作的书桌。他的脸颊饱经风霜的侵凌与扭曲。我们会认为他是一位大地的水手，伐木人，受到温柔驯化的巨人。一位帅俊魁梧的男人，受到恩典的感动。天使是他的恩典。林布兰绘画得淋漓尽致。隐喻的东西被化成肉身。声音从远处，从近处传来。用他所有的重量，用他整个的前额，整个的头发，这个人倾听着。（天使的）声音通过他的喉咙。

Rembrandt paints this mysterious thing that mobilizes the body: the state of creation.
Writing, thinking, is being in a state of waiting for what is yet to come, but proclaims
itself—Proclamation and imminence—a force stronger than myself comes up behind me.
And—I guess—painting is the same way, with the angel at your shoulder and eyes that
listen and do not see.

林布兰绘画动员身体的这个神秘的东西：创造的状态。写作，思想，就是处于等待的状态，等待将要来临的东西，但是又是宣称它自己的东西—宣称与逼近—一个比我自己更加强烈的力量在我背后出现。然后—我猜想—绘画是同样的方式，天使在你肩膀与眼睛，倾听着，没有看见。

This is also the attitude of the Philosopher Meditating.7 The philosopher is ‘listening.’
He is nothing but an ear. All is audition. Slightly turned away from the light, from the
book—and from the bust. Hence pointed toward the mouth—obscure ear…
What is ‘a philosopher meditating’?
A somber conch.
Meditation takes place at the bottom of the staircase.

这也是「沉思中的哲学家」的态度。哲学家正在「倾听」。他仅是竖耳倾听。一切都是聆听。轻微地。避开光，避开书—避开身躯。因此，指向嘴巴—模糊的耳朵、、、
「沉思中的哲学家」是什么？
一个惨淡的海螺。
沉思发生在楼梯的底端

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西苏论巴斯莎芭沐浴图

19. And in order to paint this, one must be dead. He paints like a dead man. Like a
poet. Like a dead man. See why Van Gogh places Rembrandt apart, elsewhere:
‘Rembrandt remains faithful to nature, even when, there too and still, he goes to the
heights, the highest heights, infinite heights, but just the same, Rembrandt could still do
otherwise when he didn’t feel the need to remain faithful, in the literal sense of the word,
like in the portrait, when he could be poet, that is to say creator.’
‘That is what he is in the Jewish Bride.’

19、为了绘画这个，我们必须死掉。他就像一位死人一样地画。像一位诗人。像一位死人。请你们看出，为什么梵谷将林布兰分开放，在别的地方。「林布兰始终忠实于自然，即使当他去到高处，他也是在那里，依旧在那里。最高的高处，永恒的高处。但是尽管如此，林布兰依旧能够做别的事情。当他不觉得有需要始终保持忠实，顾名思义的忠实。就像在肖像里，当他有时是诗人。也就是说，他有时是创造者。

‘– What an immensely profound, noble sentiment. One must die several times in order
to paint like this, now this is a remark one could apply to him.’
‘Rembrandt penetrates so far into the mystery that he says things no language can
express. It is just of us to say of Rembrandt: the Magician… This is not an easy craft.’6
The craft of death isn’t easy. What does that mean?

–「多么宏伟深奥与高贵的情感！为了像这样绘画，我们必须死掉好几次。」现在，这是我们能够运用在他身上的一句评论。

「林布兰如此深运地贯穿进入神秘，以致于他说出没有语言能够表达的东西。我们应该称呼林布兰为：魔术家。这并不是容易的技艺。死亡的技艺并不容易。那是什么意思？

For example this: it isn’t with the appetite of desire that Rembrandt paints Bathsheba.
It is with attentive love for the creature, for the miracle of existing. The profound
amazement, joyous without splendor, almost pious before this invention: the human
being. Nothing royal. Nothing extraordinary. The sober splendor of the ordinary. What is
marvelous: the ordinary metamorphosis: these people are subject to alteration, to time.
Time is at work. And not just time. Everything that endlessly paints us from the inside.
All the blows and messages that knock at the door to the heart, and paint from the inside
the troubled nervous agitation we call soul. (The soul, our capacity to suffer, said
Tsvetaeva.)

譬如这个：林布兰绘画巴斯莎芭，并不是带着欲望的品味。而是带着对于人作为生物的专注的热爱，对于生命实存的奇迹。这种深奥的惊奇，没有辉煌的欢愉，在这种发明之前的近乎虔诚：人类。没有皇家的东西，没有特别的东西。属于普通人的清醒的辉煌。令人叹为观止的东西是: 普通人的蜕变：这些人们隶属于轮换，隶属于时间。时间在运作。不仅是时间。每一样从内部无止境地绘画我们的东西。所有敲打到心扉之门，然后从内部绘画受到骚乱的神经的激动的打击与讯息。我们称它们为灵魂。（灵魂就是我们承受痛苦的能力，茨维塔耶娃说。）

That which wells up in Bathsheba, that which the letter has poured into her body, into
her organs, into her brain, and which is working on her body, her face, her brow, from the
inside.
She’s listening to this: this transformation in herself. Which is still new, mobile,
momentary. She doesn’t know who, shortly, she’ll be.
Traversed.
Traversed, St Matthew too? Transfixed. Cocked. All ears. He paints us listening to
ourselves change.
On the one hand he paints.
The heavy
Silence
of Bathsheba

在巴斯莎芭身上澎湃奔腾的东西，这个信息倾注在她身体的东西，进入她的器官，进入她的脑，在她身上运作的东西，她的脸孔，她的眉毛，从她的内部。
她正在倾听这个：在她身上的转变。依旧是新颖，活动，暂时的东西。她并不知道，不久她将会成为谁。
被经历过。
被经历过，圣马太也被经历过吗？被着魔，被竖起。专注倾听。他绘画我们倾听我们自己改变。
一方面，他绘画。
巴斯莎芭的
沉重的
沉默

On the other he paints the Voice that causes writing.
– The Voice—How to paint the Voice?
– We don’t see the voice.
Rembrandt paints the voice we do not see.
paints what we do not see.
see?
paints what speaks inside…
the word The Angel

在另一方面，他绘画「引起书写的声音」
—声音—如何绘画这个声音？
—我们没有看见这个声音。
林布兰绘画我们没有看见的声音。
绘画我们没有看见的声音。
看见？
绘画在内部言说的声音
在字的内部：天使

雄伯译

西苏论巴斯莎芭沐浴图 6

17. I’ve just seen, in the collection: The Lacemaker, The Astronomer by Vermeer. The
Erasmus by Holbein.
The Lacemaker is a sublime still life. I remained in contemplation before the light and
shadow of the lacemaker’s fingers. The sculptured aspect of the light. The Lacemaker is a
Cézanne by its ridges. The Lacemaker is perfect. In its every detail. It is a treasure chest
full of precious colors. It isn’t lacking in anything. We feel a great satisfaction. Like
before the perfection of a doll’s house: everything is there, down to the smallest cooking
pot. And into the bargain there are those yellows. Everything is in order in the house.
Erasmus hasn’t changed. It’s really him, today as three centuries ago, the same dry,
thin-lipped man. Erasmus’s appearance hasn’t changed in three centuries. It is a
photograph. There is no interior. Holbein is the master of the genial splendor of realism. I
imagine the surprise of his contemporaries. Such a resemblance!
(It seems that certain buyers would complain about the lack of resemblance in
Rembrandt’s portraits. What must resemblance resemble?)

17、 我刚刚在收集里看见：维米尔画的「蕾丝制造者」，「天文学家」。荷宾的「伊拉玛斯」。
「蕾丝制造者」是昇华的静画。我始终是在蕾丝制造者的手指的光与阴影之前，沉思。光的被雕塑的层面。「蕾丝制造者」是塞尚的画，作为它的脊梁。「蕾丝制造者」是完美的。在它的每个细节。这是一个充满了珍贵颜色的财宝箱。它并不欠缺任何东西。我们感觉到强烈的满足。就像在一所木偶之家的完美之前。每样东西都在那里，一直到最微小的烹饪的锅子。除外，那样那些黄色。在房间里每样东西秩序井然。伊拉斯莫斯并没有改变。那确实就是他，今天，如同三个世纪之前，相同的乾旱，嘴唇薄薄的男人。在三个世纪里，伊拉斯莫斯的外表都没有改变。那是一幅图画。没有内部。荷宾是写实主义的辉煌灿烂的大师。我想像他的当代人们的惊奇。如此的酷似！

（似乎，某些买家将会抱怨，在林布兰的肖像的欠缺酷似。酷似必须酷似什么？）

18. Why do I place Rembrandt above, elsewhere, apart? Since forever?
No realism: what he paints is a woman hidden under the appearance of Bathsheba. He
paints the precise passing instant, the instant that is the door to eternity. In the instant is
the eternity.
Stigmata 10In Rembrandt truly no realism. To what degree it is the soul he paints, the soul in flesh
and in light, can be seen by the indifference he manifests for the ‘realistic description’ of
the body. The position is impossible. I tried. But this is of no importance. It is the soul
that presses the thighs together.

18、 为什么我将林布兰放在上面，别的地方，隔离开来。从什么时候以后？
并不是写实主义：他所绘画的东西，是一位女人隐藏在巴斯莎芭堤外表底下。他画这个明确的瞬间的片刻。这个片刻就是进入永恒的门。永恒就在这个瞬间。
在林布兰的「圣痕101」，确是并不是写实主义。他绘画灵魂到什么程度，具有肉身与光的灵魂，能够被看见，从他展示的冷漠，对于身体的写实主义的描述。这个位置是不可能。我尝试过。但是这并不重要。将大腿挤压在一块的是灵魂。

He paints a woman struck by a letter, carried outside of herself and whom he calls—
we call—Bathsheba.
He paints the bruised heart of Bathsheba. He paints the slight and uncertain intensity.
Rembrandt paints the secret: the trace of what escapes us: he always paints what
escapes us: what has just happened, what is going to happen, and which traverses us
suddenly, pierces us, turns us upside down, escapes—beyond the painting, beyond
thought, and leaves us there panting, suspended, grazed, he paints the body that remains,
maybe the skin, maybe the cadaver.
The painting is the place of passage.

他绘画女人受到信息的击中。这位女人在她自身之外被带著，他称这位女人，我们称这位女人—巴斯莎芭。
他绘画巴斯莎芭的受伤的心。他绘画轻微而不确定度激情。
林布兰绘画这个秘密，我们无法掌握的东西的痕迹。他总是绘画我们无法掌握的东西。刚刚发生过的东西，将要发生的东西。这个东西突然旅行过我们，贯穿我们，颠覆我们，逃避—超越这个图和，超越思想，让我们在那里喘息，悬浮，上釉，他绘画始终保存的身体，也许是皮肤，也许是尸体。
这幅图画书讯息通过的位置。

雄伯译

西苏论巴斯莎芭沐浴图 5

14. The Violence of the Letter.
At first I didn’t see it. The letter.
Little by little the letter captures the gazes.
At first I looked at the body.
This body that lets itself fall into itself.
That weighs. Weighing. For? Against?
I looked at the body’s dough. The flesh furnishes. Without muscles. (See the muscled
thighs of the Woman Bathing.)
A despondency, a prostration. Of an animal that knows itself promised. To the
sacrifice.
‘The body lowers its head.’
(It seems there has been a pentimento3 of the head.)
(Whereas all the women rise, in one way or another. Even the modest ones, even
Hendrickje. They have muscles or a cap.)
Bathsheba is drooping. Slightly.
Chin drooping.
An indolence has seized her.
Dejection? Resignation?
How she holds the letter: Weariness. She might drop it.

14、 信息的暴力
起初，我没有看见它。这个信息。
逐渐地，这个信息捕获各种凝视。
起初，我观看身体。
这个让自己掉入自己的身体。
那个沉重的身体。沉重？为了什么？反对什么？
我观看身体的肉身。肉身供应装配。没有肌肉。（请看「沐浴的女人」的大腿的肌肉。
沮丧。卖春。知道自己被许诺的动物。献给牺牲。
身体垂涎它的头。
（似乎，始终存在着头的悔恨）。
（虽然所有的女人起来，以某种的方式。即使最谦虚的女人，即使亨瑞杰。她们都有肌肉或帽子。）
巴斯莎芭低垂着。稍微。
下巴低垂着。
混身散发着懒散。
沮丧？顺服？
她保有这个信息的方式是：疲倦。她可能掉落它。

15. (N.B. the victory of the letter: the slow rise to the surface, the insistence.)
So there is a letter.
There is always a letter.
The letter, what violence! How it seeks us out, how it aims at us!
Us.
Especially women.
And more often than joy, it is some death it brings to us.
I don’t know why I hadn’t seen it. And you?

15、（信息的胜利：缓慢上升到表明，坚持）
所以，信息存在。
总是有一个信息。
信息，怎样的暴力！它如何寻找出我们，它怎样目标朝着我们!
我们。
特别是女人。
更加经常的，不仅是欢乐，信息带给我们的是某种死亡。
我不知道为什么我没有看见它。你看见它吗？

What’s a letter, next to a big body full of buttered light? a crumpled paper, next to
these unctuous linens?
Suddenly I am letterstruck. And I see only it.4 This letter! no, it’s a hole in the body of
the painting, the rent, the tear in the night. It I see the letter, I no longer see Bathsheba.
And now that I have my eyes on the letter, I see that it’s the letter that spills this shadow
on to Bathsheba’s left leg. This letter is in opposition. To the veil. To the linen.
To the reading. It is a letter from the back. It turns its back to us. When I wanted to
read it: forever forbidden. To paint a letter seen from the back! The Door is closed. It is
David, an old tale whispers to me.

怎样的信息，在充满塗奶油的光的庞大身体的旁边？在这些杂乱的内衣的旁边，怎样的一张皱乱的纸？
突然地，我被信息击中。我看见的仅是信息。这封信息！不，这是在图画的身体里的一个空洞，这个撕裂，夜晚的撕开。它。我看见这个信息。我不再看见巴斯莎芭。
既然我的眼光注视这封信息。我看见，就是这个信息，将这个阴影喷洒到巴斯莎芭左腿上。这封信息处于对立。跟薄纱对立，跟内衣对立。
跟阅读对立。这是一封从背后来的信息！门是封闭。那是大卫王。古老的传说跟我们喃喃叙述。

15
David is the outsider. The outside. The arranger.5 Invisible.
‘David and Bathsheba,’ that’s it: it is Bathsheba to the letter… The letter resounds
throughout the entire painting.

Form
This painting is divided more or less into two triangles.
Shadow of gold and (carnal) light of flesh.
In the center, the stroke of the letter.

15、 大卫王是外人。在外面。陌生人，隐而不见。
大卫王与巴斯莎芭，那就是它。那是巴斯莎芭跟信息的对立。在整个图画里面，这个信息迴响着。

形式
这个图画有点被区分成为两个三角形。
黄金的阴影与肉身的（肉体的）光。
在中央，信息的击中。

16. The letter has just been read.
The two women are under the letter’s sway.
The letter has taken their breath away. Has dispatched them over there into the closed
time, before the closed doors to the future.
Here in the painting, in the tent, they have already past, the present already past falls in
heavy folds toward the bottom.

16、 这封信息刚刚被阅读。
这两位女人受到这个信息的影响。
这个信息让她们惊叹不已。这封信息将她们配送到那里，进入封闭的时间，在进入未来的被封闭的门之前。
在图画，在帐篷，这里，她们已经有过去，已经过去的现在，以沉重的皱波掉落，朝向底端。

How white the letter is in the middle of the painting. Of a shadowy rosy whiteness.
The letter is within the scale, so it is a part of Bathsheba’s colors.
Letter one neither holds on to nor drops. Holds the entire painting under the
indecipherable charm of its breath.
And how red the stain is at the corner of the letter.

在图画的中央，这个信息是多么白。属于阴影般的玫瑰的白。
这封信息在天平之内。所以它是巴斯莎芭的颜色的部分。
信息，我们既没有掌握，也没有掉落它。我们将整个图画，放置在图画的呼吸的无法描述的魔力底下。
在信息的角落的这个污点是多么的红。

Like a signature. The mark on the shoulder. A touch of purple on the white. Sign or
signature. Piece of red seal? A bit of wax. So is it realistic? No, it is red. It is an element.
Incarnadine.
Portrait of Sadness: presentiment of mourning.
Bathsheba’s sadness:
She becomes sad under the insistence of our gaze.
The mouth made for smiling, the mouth doesn’t droop.
The sadness is in the brow: the brow slightly rises like thought slightly rises as it
attempts to think farther.

就像一个签名。在肩膀上的记号。白色上面的紫色色调。讯息或签名。一块红色印章？一点腊封。所以，那是写实的吗？不，那是红色。那是一个元素。
肉体的颜色。
悲伤的肖像：哀悼的恶兆。
巴斯莎芭的悲伤：
在我们的凝视的坚持，她成为悲伤。
嘴巴是为了微笑而形成，嘴巴没有垂下。
悲伤是在眉毛。眉毛稍微上扬，就像思想稍微上升，当它企图更深远地思想。

雄伯译

西苏论巴斯莎芭沐浴图

12. The older woman further down at the bottom is a remainder. She comes back to us
from this drawing (see Figure 1.2).
Bathsheba is also then this other woman.
The woman with the cap is: Bathsheba’s strange foreignness, her exoticism, Asia.
Nude with a cap! extravagance: something aberrant in the coifed nudity.
And the coif: oriental…

12、 在底端稍远处的这位老妇人，是个剩余者。她从这幅图画回到我们。（请看图画1.2）
巴斯莎芭也因此就算这位另外的女人。
戴着帽子的这位女人是：巴斯莎芭堤陌生的外来者，她的性爱狂。亚洲。
戴着帽子的裸体！奢侈：戴着披头帽的裸体，有某件偏离的东西。
披头帽：东方的、、、

This nude cut in two: the body is Bathsheba’s the coif is the older woman’s… The
cap! is at work.
The ‘servant’s’ gaze moves off toward the future in the East.
Bathsheba’s gaze withdraws toward the occidental future.
The two gazes descend slowly, toward the bottom.
Cross each other, don’t see each other. Are on two parallel planes.
The two women withdraw from the scene thoughtfully.

这个裸体被切成两半：身体是巴斯莎芭的身体；披头帽是老妇人的披头帽。
帽子在运作。
「仆人」的眼神移开，朝向东方的未来。
巴斯莎芭的眼神撤退，朝向西方的未来。
这两种眼神缓慢降下，朝向底端。
互相跨越，没有看见彼此。它们处于两个平行的层面。
这两位女人沉思地从场景撤退。

The ‘servant’ wipes Bathsheba’s feet distractedly. She is elsewhere. They are
elsewhere. In soul they are elsewhere. The body, left, weighs more heavily.
Bathsheba or the interior Bible 7What is the ‘servant’ thinking about? These two women are day-dreaming of the end
of the year. At the end of the year, a path will have been lost,
The end of the year…

这位「仆人」心不在焉地搽拭巴斯莎芭的脚。她在别的地方。她们都在别的地方。在灵魂，她们都是在别的地方。被留下的身体，重量更加沉重。

At first glance, at tenth glance, this is the face that at first I see. I should say: this
demi-face. We call this: profile. In fact it is a side, a half, a demi-star. The other side
belongs to the night. I will never know then but half of Bathsheba, the illuminated part.

首次瞥见，第十次瞥见，首先我看见的就是这个脸孔。我应该说：这个一半的脸孔。我们称这个为：轮廓。事实上，它是个旁边物，一个一半，半颗的星。另外一半属于夜晚。我将永远不会知道，当时仅有一半的巴斯莎芭，这个被启蒙的部分。

Figure 1.2 Fragment of a drawing by
Rembrandt. London, Victoria & Albert
Museum.

图画1.2 林布兰德图画片断，伦敦，维多利亚与阿伯特博物馆。

Stigmata 813.
Something unreadable catches my eyes. Maybe this, I tell myself, after a long
time: it is something that glides from head to toe. A motion-less movement, a
transformation. Now I see it, it is time, and even: it is time’s writing, it is age. From the
young head, the body goes forward, aging imperceptibly. Ah! so that’s what was gripping
my heart. This young woman is in the process of aging. The future is spreading through
her limbs. Her breasts are still childlike, already her pelvis, her thighs, her legs are in the
hands of age.
What? I mustn’t say this? But this is nonetheless what Rembrandt paints: the passion
(the suffering) of Bathsheba, starts here, in the body, between the knees,
where floats…the letter.

圣痕 8.13
某件无法阅读的东西吸引我的眼光。也许是这个。我告诉我自己，经过一段长时间之后。这是某件从头到脚滑走的东西。一个没有动作的运动，一种转变。现在我看见它。那是时间，甚至那是时间的写作。那是：年岁。从年轻的头，身体向前前进，不知不觉地衰老。啊！那就是紧捉住我的心的东西。这位年轻女人正处于衰老当中。未来摊开，穿过她的四肢。她的乳房依旧像小孩一般。她的骨盘，她的大腿，她的脚，都处于衰老的手中。
什么？我一定不要这样说？》但是这仍然是林布兰所绘画的东西。巴斯莎芭堤激情（痛苦），从这里开始，在身体里，在两个膝盖之间。在那里，这个讯息飘浮着、、、

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

西苏论巴斯莎芭沐浴图

9. With what is she painted?
Van Gogh said that Delacroix said that Veronese painted white blonde naked women
with a color which, by itself, greatly resembles street mud.
Van Gogh wants to paint with the earth. To mould.
With what mud is Bathsheba painted? With what earth?
With the flesh’s butter. With ghee. That rosy blond butter.
Libations.
Bathsheba nude.
I see Rembrandt painting the veil (that doesn’t hide a thing) on her groin.
Rembrandt grazing Bathsheba’s groin with a veil.
The veil, a nothing that creates the nudity.
Without this transparent nothing we would forget she is nude.
Bathsheba is in person. In a dressing gown. In body.
It is the body that is the face.

9、 她被用什么来画成？
梵谷说那个，德拉科罗说那个，威楼尼斯画白金黄色的裸体女人，用一种本身酷似街上泥巴的颜色。
梵谷想要用泥土来画。来塑造。
巴斯莎芭是用什么泥巴来绘画？用怎样的泥土？
用肉身的奶油。用加热过的奶油，那种玫瑰般的棕色奶油。
塗圣油。
巴斯莎芭堤裸身。
我看见林布兰画这个薄纱（什么都没遮蔽）在她的大腿上。
林布兰用一层薄纱替巴斯莎芭的大腿上釉。
这层薄纱是创造裸体的一种空无。
假如没有这层透明的空无，我们将会忘记她是裸身的。
巴斯莎芭亲自出席。穿着衣袍。以身体为衣袍。
身体就是她的脸孔。

10. She does not look at us. She is of those who do not look at us. I mean to say: those
women, Bathsheba, Mary, Hendrickje, don’t look at us, don’t stop living, (that is to say
dreaming, that is to say leaving) in order to look at us.
Stigmata 6
They withdraw, they take their leave slowly, a thought carries them toward the
unknown, far away. We hear—barely—the call from afar—
And we, looking at them, we see thought taking its leave. We see thought. It is a
portrait of thought, according to Rembrandt. Thought is not the weighty thinker seated. It
passes, inside, distracted, traveling, it is the foreigner, the stranger.
He paints the foreigner, the stranger in me, in you.
The times when under the letter’s sway—
we suddenly become the stranger, the foreigner in ourselves. We separate ourselves
from ourselves. We lose ourselves. From sight also.

10、 她并没有观看我们。她属于没有观看我们的人之一。我意图要说的是，那些女人。巴斯莎芭，马丽亚，亨瑞杰，她们并没有观看我们，没有停止活着（换句话说，没有停止作梦，换句话说，没有停止离开）为了观看我们。
圣痕第6图
她们撤退，她们缓慢地告辞，思想带领她们朝向遥远的未知。我们听见—勉强地—从遥远而来到召唤—
我们，观看她们时，我们看见思想不辞而别。我们看见思想。这是一幅思想的图画。依照林布兰。思想并不是端坐那里的沉重的思想家。思想通过到里面，心神不宁，旅行，就是这位外来客，这位陌生人。
他绘画这位外来客，这位陌生人，在我身上，在你们身上。
有好几次是受到讯息的影响。
我们突然变成我们自己身上的这位陌生人，这位外来客。我们跟自己分开。我们迷失自己。也视而不见。

He catches, paints, the point of departure. The hour, when destiny slips from our eyes.
Everything seems domestic. And yet such a strangeness wells up in our eyes, like
tears. It’s that she is already gone, she who is called Bathsheba. But the body remains.
That much more body, that much more flesh, that much heavier here, now that she-
Bathsheba is elsewhere.
The face is traveling: a great silence reigns in the painting. ‘What are you thinking
about?’ we wonder.

他捕捉，绘画出发点。这个时刻，当命运从我们的眼睛里溜走。
每样东西似乎都是家常。可是，这样的陌生感在我们的眼睛里膨奔腾起来，就像眼泪。她已经消失，她被称为巴斯莎芭。但是身体始终在。
那种不仅是身体，不仅1是肉身，在这里不仅更加沉重。既然她，巴斯莎芭在某个别的地方。
脸孔正在旅行：巨大的沉默降临图画。「你正在想什么？」我们想要知道。

11. A nude woman thinking. ‘Thoughtful body.’
On the one hand the thoughtfulness accentuates the nudity: naked nudity. Nudity unthought.
Un-attended to, un-kept. Given.
(What does a naked woman think about—her rapport to her body, always the slight
attention, like a veil, the glance or the gaze. Whenever I’m naked, I don’t look at myself,
I cast a glance my way (—the glance of the other, of you/me at me)—But no, Bathsheba
does not look at her body. She is not before herself. She is not here. She is gone, behind
her eyelids.)
On the other hand, the person who thinks in front of us, abandons us. A very slight
betrayal rouses us: we miss her a little, she who is (only a little bit here) absent.
Distracted, she is abstracted from us.
‘He doesn’t paint great Historical subjects (said a contemporary). He paints
thoughts…’ (Roger de Piles, 1699, Paris).
(He paints thoughtfulness. This absence in the body. This leave-taking by the soul that
leaves the body deserted like a living tomb. We think: we’re parting.

11、 一位裸体的女人在思想。「会思想的身体」。
在一方面，这种思想特质强调裸体：赤裸裸的裸体。没有被思想的裸体。没有被陪伴，没有被照顾。就是被给予。
（一位赤裸裸的女人思想些什么—她对她的身体的支撑，总是轻微的专注，就像一层薄纱，瞥见，凝视。每当我赤裸时，我并没有观看我自己。我以我的方式瞥见（–它者的瞥见，你或我瞥见我）–但是，不是这样。巴斯莎芭没有观看她的身体。她并不是在她自己面前。她并不在那里。她离开了，在她的眼皮背后。）
在另一方面，在我们面前思想的这个人，放弃我们。我们被激发稍微的背叛。我们稍微失落她。在此是缺席的她（在此稍微有一点）。
她恍惚分身。她从我们这里恍惚分神。
「他并没有绘画伟大的历史的主体（一位当代人说）。他绘画思想、、、（1966年，巴黎，Roger de Piles,）
（他画思想特质。画身体的这个缺席。灵魂的这种辞别，让身体成为荒漠，像一座活生生的坟墓。我们思想：我们正在离开。

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