无意识的形成 23

无意识的形成 23
13.11.57 34

Gide in his Prometheus ill-bound makes the whole story revolve
around what is not really the god, but the machine, the banker,
Zeus whom he calls the “miglionnaire”, and I will show you in
Freud what is its essential function in the creation of the joke.
We do not know whether we should pronounce Gide’s “miglionnaire”
as Italian or French, but I myself believe that it should be
pronounced as Italian.


In short, if we consider famillionaire we will then see in the
direction I am indicating to you, which is not reached at the
level of Heine’s text at this time, that Heine does not at all
give it its liberty, its independence, at the substantive state.


If I even translated it above “as quite famillionairely”, it is
indeed to indicate to you that we remain there at the level of
the adverb, because one can even play with words, attract the
tongue from the manner of being (?), and in dividing things
between the two, you see the whole difference there is between
the manner of being and what I was in the process of indicating
to you as a direction, namely, a manner of being.


We did not go as far as that, but you see that the two are
continuous. Heine remains at the level of the manner of being,
and he was himself careful in translating his own term, to
translate it precisely, not as “quite as a famillionaire”, but as
(37) I did above, as “quite famillionairely”.

我们并没有进行到那里。但是你们看出,这两者是连续性。海因始终保持着生命实存的方式。他自己非常小心地翻阅他自己的术语,确实地翻译它,不是作为「quite as famillionaire“,而是如同我以上所做的,作为”quite famillionairely“

What is supported by this “quite famillionairely”? Something
that is, even though we do not in any way get to this poetical
being, something that is extraordinarily rich, teeming, swarming,
in just the way things happen in metonymical decomposition.

这个“quite famillionairely“所支持的东西是什么?它是某件特别充实的东西,即使我们根本不知道诗意的生命实存,它密集,蜂涌,就想换喻瓦解时,所发生的事情那样。

Here Heinrich Heine’s creation deserves to be replaced in its
text, in the text of the Baths of Lucca, in the text of that de
facto familiarity in which Hirsch-Hyacinth lives with Baron
Cristoforo Gumpelino, who has become a very fashionable man and
spends himself on all kinds of courtesies and attentions to
beautiful women, and to which must be added the fabulous,
astonishing familiarity of Hirsch-Hyacinth hanging on to his

在此,Heinrich Heine 的创造在他的文本里,应该值得被替代,在「路卡的沐浴」的文本,在Hirsch-Hyacinth跟Cristoforo Gumpelino 男爵共同生活的真实的熟悉的文本里。后者已经成为一位时髦的人物,专注于追求与密切关注美丽的女人。在这个真实的熟悉之上,必须增加这个巨大的令人惊奇的熟悉,Hirsch-Hyacinth坚持他的攀附的熟悉。

The function of parasite, of servant, of domestic, of
commissionaire of this character, suddenly evokes for us another
possible decomposition of the word famillionaire, without taking
into account that behind – I do not want to go into the frightful
and miserable function of women in the life of this caricature of
a banker whom Heine produces for us here, but which certainly
includes the aspect of craving associated with success, the
hunger that is no longer the ………. sacra fames, but the hunger
to satisfy something that until the moment of his accession to
the highest circles of life, had been refused him.


(38) This will allow us to follow the trace of another possible
manner of decomposition, the possible signification of the word
fat-millionaire. The fat-millionaire is at once Hirsch-Hyacinth
and Baron Cristoforo Gumpellno…. And it is indeed something
else, because behind it there are all the relationships of the
life of Heinrich Heine, and also his relationships with the
Rothschilds, which were particularly famillionaire.

这将让我们能够追踪瓦解的另外一个可能的方式,fat-millionaire这个字的可能的意义。这个fat-millionaire 既是Hirsch-Hyacinth,又是Cristofor Gumpellno男爵。那确实是某件其他东西,因为在它背后,有Heinrich Heine 的生活的各种关系,也有他跟Rothschilds的生活的关系。那是特别是famillionaire。


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