Identification 94

Identification 94
认同

Jacques Lacan
雅克 拉康

21.3.62 XIV 3

(5) Here is where there is established the common field in which
the object of desire is set up in the position that we know
already of course to be necessary for it even at the imaginary
level, namely a third position: the simple dialectic of the
relationship to the other qua transitive in the imaginary
relationship of the mirror stage, has already taught you that it
established the object of human interest as linked to his fellow,
the object o here with respect to this image which includes it,
which is the image of the other at the level of the mirror stage:
i of o.

在此，就是这个共同领域被建立的地方。在这个领域，欲望的客体被建立，在这个位置。我们当然已经知道这个位置是必要的，对于欲望的客体，即使是在想像的层次。换句话说，第三个位置：跟大他者的关系的简单辩证法，作为是镜像阶段的想像的关系的及物动词。它已经教导你们，它建立人类興趣的客体，作为跟他的同胞息息相关。在此的这个小客体，关于包括它的这个意象，那就是大他者的意象，在镜像阶段的层次，对于客体的认同。

But this interest in a way is only a form, it is the
object of this neutral interest around which even the dialectic
of M Piaget’s enquiry could be ordered, by putting in the
foreground this relationship that he describes as one of
reciprocity that he believes that he can join up to a radical
formula of the logical relationship.

但是这个興趣在某方面仅是一个形式。即使是皮亚杰的研究的秩序，都是环绕这个中立的興趣的客体。他将他描述为互惠的关系，放置在前景。他相信，这个互惠的关系，他能够连接到逻辑关系的强烈的公式。

It is from this
equivalence, from this identification to the other as imaginary,
that the ternarity of the emergence of the object is established;
it is only a partial, insufficient structure and therefore one
that we should find, finally, as deductive of the setting up of
the object of desire at the level where I am articulating it for
you here today.

就是从这个平等，从这个认同于大他者，作为想像界的大他者，客体的出现的第三位置被建立。它仅是一个部分，不充足的结构，因此是我们应该发现的结构，最后作为是欲望的客体的建立的推理。在这个层次，今天在此我正在跟你们表达它。

The relationship to the Other is not at all this
imaginary relationship founded on the specificity of the generic
form, because this relationship to the Other is specified by the
demand in so far as it makes emerge from this Other, which is the
Other with a big 0, its “essentialness”, as I might say, in the
establishment of the subject, or, to take up again the form that
is always given to the verb inter-esser its “inter-essentialness”
to the subject.

跟大他者的关系根本就不是这个想像的关系，以这个类别形式的明确性作为基础。因为跟大他者的关系被要求所指明。因为它让“它的基本要素”从这个大他者出现。这是具有一个大写O的大他者。我不妨说，在主体的建立里。或者，再次从事这个形式，总是给予这个动词的形式“inter-esser”“inter-essentialness”（互为基本要素），给予主体。

The field in question cannot therefore in any
way be reduced to the field of need and of the object which
(6) because of the rivalry of his fellows may at the limit be
imposed – because this would be the slope down which we would
find our recourse for the final rivalry – be imposed as object of
subsistence for the organism.

受到质疑的领域，因此无法以任何方式被化简成为需求与客体的领域。因为他的同胞的敌意，在这个限制，客体可能被赋加。因为这将是这个斜坡，我们发现我们诉诸于最后的敌意，就是这些斜坡。客体可能会被赋加作为是有机体的生存的客体。

This other field, which we are
defining and for which our image of the torus is made, is another
field, a field of the signifier, a field of the connotation of
presence and absence and where the object is no longer the object
of the subsistence, but of the ex-sistence of the subject. In
order to demonstrate it, it is indeed a matter in the final
analysis of a certain place of ex-sistence necessary for the
subject and that this is the function to which there is raised,
brought the small o of the first rivalry.

这个另外的领域，我们正在定义它，我们的圆环面的意象就是为它而建造。它是另外一个领域，能指的领域，存在与缺席的外延意义的领域。在那里，这个客体不再是生存的客体，而是主体的“外部-存在”。为了要证明它，追根究底，问题确实是对于主体所必要的“外部-存在”的某个位置。就是这个功能，这个最初的敌意的小客体，在那里被提出，被带来。

We have before us the path which we still have to take of this
mountain peak to which I led you the last time of the dominance
of the other in the setting up of the frustrating relationship;
the second part of the path should lead us from frustration to
this still to be defined relationship which as such constitutes
the subject in desire, and you know that is it only there that we
can properly articulate castration.

在我们们面前，我们拥有这个途径，我们依旧必须採取的途径，上次我引导你们到达的这个山的顶峰，关于大他者的支配的山的顶峰，当建立这个挫折的关系。这个途径的第二部分应该引导我们离开挫折，到达这个依据应该被定义的关系。作为这样一个关系，它形成欲望中的主体。你们知道，仅是在那里，我们能够恰当地表述阉割。

We will not know therefore
in the final analysis what this place of ex-sistence means until
this path has been completed. From now, we can, we ought even to
recall, but recall here to the philosopher who has no
introduction to our experience, this point which it is peculiar
to see so often shied away from in his own discourse, which is
that there is indeed a question, namely why it is necessary that
the subject should be represented – and I mean in the Freudian
sense represented by an ideational representative – as excluded
from the very field in which he has to act in what we could call
Lewinian relationships with others as individuals, that it is
necessary that at the level of structure we should manage to
(7) account for why it is necessary that he should be represented
somewhere as excluded from this field in order to intervene in
this field itself.

因此，追根究底，我们将无法知道，“外部-存在”的这个位置是什么意思？直到这条途径已经被完成。从现在，我们能够，我们甚至应该回想一下，但是在此的回想到这位哲学家，我们精神分析没有介绍到的哲学家。在他自己的辞说里，耐人寻味地，我们看见这个时刻如此经常地被避开。这确实是一个问题。也就是说，为什么主体应该被代表？我指的是弗洛依德的意义的代表，主体为什么应该用一个理型的的表象来代表？作为从这个领域被排除，他必须演出的领域，在我们所谓的“列文场域的跟别人的关系，作为个人”。在结构的这个层次，我们应该成功地诠释它，为什么他应该在某个地方被代表，作为是从这个领域被排除，为了介入这个领域的本身。

Because, after all, all the reasonings into
which the psycho-sociologist draws us in his definition of what I
have just called a Lewinian field are never presented without a
complete elision of this necessity that the subject should be,
let us say, in two topologically defined places, namely in this
field but also essentially excluded from this field, and that he
manages to articulate something and something which holds up.

因为毕竟，这位心理与社会学家引导我们进入的所有的推理，以他的定义，我们刚刚所说的列文场域。每当这些推理被呈现，总是会有完整的脱漏，对于这个必要性。我们不妨说，主体应该处于两个拓扑图形定义的位置。也就是在这个领域，而且基本上又是从这个领域被排除。主体成功地表达某件东西，某件自圆其说的东西。

Everything that in a thinking about the behaviour of man as
observable comes to be defined as learning and at the limit the
objectification of learning, namely montage, forms a discourse
which holds up and which up to a certain point takes into account
a whole lot of things, except for the fact that effectively the
subject functions, not with this simple use as I might say but in
a double use, which is all the same worth dwelling on and which,
however fleetingly it is presented to us, is tangible in so many
ways that it is enough, as I might say, to bend down to gather up
proofs of it. It is nothing other that I am trying to get you to
sense every time for example that I bring in incidentally the
traps of the double negation and that the “I do not know whether
I want to” is not understood in the same way I think as the “I
know that I do not want to”.

当我们思维人的行为作为是可观察的每样东西，逐渐被定义作为学习，在极限，学习的客观化。也就是蒙太奇，形成一种自圆其说的辞说。直到某个时刻，它都考虑到完整的东西，除了这个事实：主体有效地发挥功能，不是如我所说的这个简单的用途，而是处于双重的用途。这个双重的用途始终值得详述。无论它被呈现给与我们是多么的瞬间即逝，它在很多方面是具体的，我们只要俯视检拾它的证据就足够了，我不妨这样说。每次我正在尝试让你们理解的，实实在在就是这个。譬如，我偶然地带进双重否定的这些陷阱。“我不知道是否我想要”与我认为“我知道我并不想要”的理解并不一样。

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

Identification 93

Identification 93
认同

Jacques Lacan
雅克 拉康

21.3.62 XIV 1
Seminar 14: Wednesday 21 March 1962
(Schema I)

I left you the last time with this symbolic embrace of two
toruses in which there is imaginarily incarnated the relationship
of inversion, as one might say, experienced by the neurotic in
which we see tangibly, clinically that apparently at least it is
on a dependency on the demand of the Other that he tries to
found, to establish his desire. Of course, there is something
well grounded in this structure that we describe as the structure
of the subject in so far as he speaks, which is the one for which
I am fomenting for you this topology of the torus that I believe
to be very fundamental. It has the function of what one calls
moreover in topology the fundamental group, and after all this
will be the question to which it will be necessary for us to
indicate a response. I hope that this response, at the moment
when it is necessary to give it, will already truly be
superabundantly sketched out.

上次，我离开你们，用这两个圆环目的象征拥抱。在这两个圆环面，逆转的这个关系从想像界被具体表现。我们不妨说，逆转被神经症者经验到。在那里，我们具体而临床地看见，至少显而易见地，神经症者尝试将对于大他者的要求的依靠作为基础，来建立他的欲望。当然，在这个结构，有某件东西基础稳固的东西，我们描述它为主体的结构。因为主体言说。为了诠释这个主体的结构，我正在为你们激发圆环面对这个拓扑图形。我相信这个拓扑图形是基本的图形。它具有我们所谓的拓扑图形的基本的团体的动能。毕竟，这将会是这个问题，我们有必要给予它指示一个回答。 我希望，这个回答，在有必要给予的时刻，将会已经确实而充足地描绘出来。

Why, if this is the fundamental structure, was it so profoundly
miscognised for such a long time thoughout the ages by
philosophical thought, why if things are this way was it the
(2) other topology, that of the sphere, which traditionally
appears to dominate every elaboration of thinking concerning its
relationship to the thing.

为什么，假如这就是基本的结构，它难道不是如此深刻地被误认，自古以来长久地被哲学的思想误认。为什么，假如事情就是这个样子，难道不是另外一个拓扑图形，球形的拓扑图形，传统上似乎支配着每个思想的建构，关于它跟这个“物象”的关系。

Let us take up things where we left them the last time and where
I was indicating for you what is implied in our very experience:
there is in this knot with the Other, in so far as it is
presented to us as a first tangible approximation, perhaps one
that is too easy – we will see that it certainly is – there is in
this knot with the Other, as it is imaged here, a relationship of
lure. Let us return here to the present, to what is articulated
about this relationship to the Other. We know it. How would we
not know it when we are every day the very support of its
pressure in analysis and when the neurotic subject, with whom we
have to deal fundamentally, presents himself before us as
requiring from us the response, even if we teach him the value
there is in suspending this response.

让我们探讨我们上次离开它们的那些事情。在那里，我跟你们指示在我们精神分析经验暗示的东西：在跟大他者的这个环结，因为它被呈现给与我们，作为是一个最初的具体的接近，或许是太过容易的接近—我们将会看见，它确实是一个太过容易的接近。在跟大者的这个环结里，如同它在此被给予意象的，有一个陷阱的关系。让我们在此回到目前，回到被表达的东西，关于跟大他者的这个关系。我们知道它。我们如何会不知道它？当神经症者这位主体，我们基本上必须处理他。他呈现他自己在我们面前，作为跟我们要求这个回应，即使我们教导他这个价值，当我们悬置这个回应。

The response about what? This indeed is what justifies our
schema, in so far as it shows us desire and demand being
substituted for one another; it is precisely because the response
is about his desire and about its satisfaction.

这个关于什么的回应？这确实是让我们的基模能够自圆其说的东西。因为这个基模跟我们显示，欲望与要求正在互相被替换。确实是因为这个回应是关于他的欲望与他的欲望的满足。

What no doubt
today I will be almost certainly limited by the time that I am
accorded, is to properly articulating the co-ordinates on which
there are suspended this demand made on the Other, this demand
for a response, which specifies the true explanation, the final
explanation, with respect to which every approximation is
insufficient, of what in Freud is pinpointed as Versagen,
(3) Versagung: the retraction, or again the deceiving word, the
breaking of a promise, at the limit the Vanitas at the limit of
the bad word and the ambiguity – I recall it for you here – which
unites the term blasphemy to what it has given rise to through
all sorts of transformations, in themselves moreover very
interesting to follow: blame. I will not go any further along
this path.

无可置疑，今天我将确实会受到时间的限制，我被给予的时间的限制，仅能合宜地表达这个座标，对于大他者所做的这个要求被悬置的座标，这个回应的要求明确地指明这个真实的解释，最后的解释。关于这个解释，每个接近都是不足够的，对于在弗洛依德所被强调的作为“否认”的东西。这个“否认”，或这个欺骗的字词，诺言的违背。在“虚空画”Vanitas的这个限制，在这个坏字词与模糊暧昧的限制—我在此跟你们提醒它—它将“亵渎神明”跟它所曾经产生的东西连接一块，通过各色各样的转化。而且，在这些转化的自身是非常耐人寻味的追寻：责怪。沿着这条途径，我仅是追寻到此。

21.3.62 XIV 2

The essential relationship to the word of the frustration that we
are dealing with to the word is always the radical point to
sustain, to maintain, otherwise our concept of frustration
becomes degraded: it degenerates until it is reduced to the lack
of gratification with regard to what in the final analysis can no
longer be conceived of as anything but need.

跟挫折的这个字词的基本的关系，我们正在处理的跟这个字词的基本的关系，总是这个要维持的强烈的点，要维持，否则我们的挫折的观念就变得贬低：它恶化到它被沦落成为满足的欠缺，关于追根究底不再能够被构想做为根本就不是“需求”的东西。

Now, it is
impossible not to recall what the genius of Freud establishes for
us as original in what concerns the function of desire, what he
began with in his first steps – let us leave to one side the
letters to Fliess, let us begin with The interpretation of dreams
and let us not forget that Totem and taboo was his favourite book
– the aforesaid genius of Freud establishes for us the fact that
desire is fundamentally, radically structured by this knot which
is called the Oedipus complex, and is something from which it is
impossible to eliminate this internal knot that I am trying to
sustain before you by these figures, this internal knot which is
called the Oedipus complex in so far as it is essentially what?
It is essentially the following: a relationship between a demand
which takes on such a privileged value that it becomes the
absolute commandment, the law, and a desire, which is the desire
of the Other, the Other involved in the Oedipus complex.

现在，我们不可能不回顾一下弗洛依德的天才为我们所建立的作为原创的东西。在跟欲望的功能息息相关的东西—他所用来开始的东西，在他最初的步骤—让我们将“给弗利斯的信件”暂搁一旁。让我们从“梦的解析”开始。然后，让我们不要忘记“图腾与禁忌”是他最喜爱的书。弗洛依德的前述的天才跟我们建立这个事实：欲望基本上强烈地受到这个环结的结构，所谓的伊狄浦斯情结的环结。我们不可能将这个内部的环结从伊狄浦斯情结减除掉。这个被称为是伊狄浦斯情结的内部环结。因为它基本上什么？

它基本上如下：在要求与欲望之间的关系。要求具有如此特权的价值，以致它变成是绝对的命令，法律。而欲望则是大他者的欲望，牵涉在伊狄浦斯情结的大他者。

This
(4) demand is articulated as follows: Thou shalt not desire her
who has been my desire. Now it is this which founds in its
structure the essential, the beginning of the Freudian truth.

这个要求被表达如下：”你不可欲望她，因为她是我的欲望！“现在，在欲望的结构里，作为这个基本的基础，弗洛依德的真理的开始的基础。

And it is here, it is starting from here that any possible desire
is in a way obliged to take this sort of irreducible detour, this
something similar to the impossibility in the torus of the
reduction of the loops on certain circles which means that desire
must include in itself this void, this internal hole specified in
this relationship to the original law.

就在这里，从这里开始，任何可能的欲望在某方面被迫採取这种无法化简的迂回。这个某件东西类似这个不可能，在某些的圆圈的这些圈套的化简的圆环面的不可能。它意味着，欲望必须在它自身里包括这个空无，这个内部的空洞，在跟原初的这个关系被指明的内部的空洞。

Let us not forget that
the steps to found this first relationship around which – we
forget it all too easily – are articulatable for Freud – and only
in this way – all the Liebesbedingungen, all the determinants of
love, let us not forget the steps that this requires in the
Freudian dialectic that it is in this relationship to the other,
the father who has been killed, beyond this death of the original
murder that there is constituted this supreme form of love.

让我们不要忘记，作为这第一层关系的步骤。环绕这个关系–我们非常容易忘记它—爱的所有的决定因素被表达，对于弗洛依德而言，仅是以这种方式。让我们不要忘记这些步骤，在弗洛依德的辩证法，这个爱的所有的决定因素所要求的步骤，就是跟大他者，父亲的这层关系。父亲已经被杀死，超越原初的谋杀的这个死亡。爱的这个崇高的形式被建构。

It is a paradox not at all dissimulated even if it is elided by this
veil over the eyes which always seems to accompany here the
reading of Freud: this moment cannot be eliminated that after the
murder of the father there arises for him – even if this is not
sufficiently explained for us, it is well enough so for us to
retain the moment as essential in what one can call the mythical
structure of the Oedipus complex – this supreme love for the
father, which makes precisely of this death of the original
murder the condition of his henceforth absolute presence.

这是一个根本就无法被遮蔽的悖论，即使它被眼睛上面的这个遮布所闪失。眼睛的这块遮布似乎在此伴随着对于弗洛依德的阅读：这个时刻无法被减少，对他而言，在父亲的被谋杀发生之后—即使我们保留这个时刻作为是基本的东西就足够，在我们能够所谓的伊狄浦斯情结的神秘的结构—这个对于父亲的崇高的爱，确实解释这个原初的这个死亡，用他从此是绝对的存在的情况。

Death
in short playing this role manifested itself as alone being able
to fix him in this sort of reality, no doubt the only absolutely
durable one, of being as absent; there is no other source to the
absoluteness of the original commandment.

总之，死亡扮演这个角色。这个角色自身被展示，仅是能够将他固定在这种现实里。无可置疑地，这个唯一的绝对的逗留的角色，作为缺席的角色。对于原初的命令的绝对性，没有其他的来源。

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

Identification 92

Identification 92
认同

Jacques Lacan
雅克 拉康

(21) It remains nonetheless that what this makes tangible, is
that from the point of view of the required space, these two
spaces: the inside and the outside, from the moment that we
refuse to give them any substance other than a topological one,
are the same. This is what you will see expressed in the
sentence that the ……….. already indicate, in the Rome report,
the use that I counted on making of it for you, namely that the
property of the ring in so far as it symbolises the function of
the subject in his relationships to the Other depends on the fact
that his inside space and his outside space are the same:
starting from there the subject constructs his outside space on
the model of the irreducibility of his inside space.

问题仍然是，这个基模具体表的的东西，从被要求的空间的观点，这两个空间：内部与外部，从我们拒绝给予它们任何物质，除了拓扑图形的物质。内部与外部是相同的。这就是你们将会看见被表达在这个句子里：“the ，，，”已经指示的，在罗马报告那篇，我依靠对于它的使用跟你们表达。换句话说，这个环圈的属性，因为它象征主体的功能，跟大他者的关系，它依靠这个事实，他的内部的空间与外部的空间是相同的：从那里开始，主体建构他的外表空间，以他的内部空间的无法化简作为模式。

But what this schema shows clearly, is the lack of ideal harmony
which might be required between the object and the demand,
between the demand and the object, an illusion which is
sufficiently demonstrated by experience, I think, for us to have
experienced the need to construct this necessary model of their
necessary discordance. We know the source of this, and of
course, if I seem to be advancing only slowly believe me: no
stagnation is too much, if we want to assure ourselves of the
next steps. What we already know, and what is intuitively
represented here, is that the object itself as such, qua object
of desire, is the effect of the impossibility of the Other to
respond to demand.

但是这个基模清楚显示的东西，就是理想的和谐的欠缺。在客体与要求之间，在要求与客体之间，可能会被要求的理想的和谐。这是根据精神分析经验充分证明的幻觉。我认为，足够让我们经验到这个需求，建构这个必要的模式，对于它们的必要的不合谐。我们知道这个不和谐的来源。当然，即使我似乎仅是缓慢前进，请你们相信我：一刻都不能耽搁，假如我们想要确信以下的步骤。我们已经知道的东西，直觉上在这里被代表的东西是，这个客体的自身，作为欲望的客体，就是大他者的不可能回应要求。

This is what is seen here manifestly in this
sense that, whatever may be his desire, the Other cannot suffice
for the aforesaid demand, that he necessarily leaves open the
(22) greater part of the structure, in other words that the
subject is not enveloped, as is believed, in the all, that at the
level at least of, the subject who speaks the Umwelt does not
envelop his Innenwelt;

这就是从这个意义，在此明显被看见的东西。无论他的欲望是什么，大他者无法充分满足前述的要求。他必然将这个结构的更大部分展开。换句话说，主体并没有如所相信地被涵盖在内，在这个“全部”里。至少在言说的主体的这个层次，“环境”并没有涵盖他的“内部世界”；

that if there was something to be done to
imagine the subject in relation to the ideal sphere, always the
intuitive and mental model of the structure of a cosmos, it would
be rather that the subject would be, if I may allow myself to
push it, to exploit for you – but you see that there is more than
one way of doing it – my intuitive image, it would be to
represent the subject by the existence of a hole in the aforesaid
sphere and his supplement by two sutures.

假如有某件东西应该被做，为了想像主体跟理想领域的关系，宇宙的结构的直觉与精神的模式。相反的，那将会是，假如我容许我自己逼迫它，为了你们而利用我的直觉的意象。但是你们看见，处理它不仅只有一种方式。主体将就是在前述的领域里，以及凭借两个缝合辅助他，凭借空洞的存在代表主体的东西。

Let us suppose the subject to be constituted
on a cosmic sphere. The surface of an
infinite sphere is a plane: the plane of the
blackboard prolonged indefinitely.
Here is the subject, a quadrangular hole,
like the general configuration of my skin
earlier, but this time in the negative.

让我们假定在一个宇宙的领域里，应该被形成的主体。一个无限的领域的表面是一个平面：黑板的平面无线地延长。在此就是主体，一个四角形的空洞，就像早先我的皮肤的一般的形态，但是这次处于负面。

I stitch one edge to the other, but with this
condition that they are the two opposite
edges, that I leave the two other edges free.
From this there results the following figure:
(23) namely, with the void filled in here, two holes which remain
in the sphere of infinite surface. You have only to pull on each
of these edges of these two holes to constitute the subject on
the .infinite surface as constituted in short
by what is always a torus even if it has a
paunch of infinite radius, namely a handle
emerging at the surface of a plane.

我将一个边缘跟另外一个边缘缝合，但是要具备这个条件：它们是两个对立的边缘。我让这两个边缘开放。从这里结果会有以下的图形：换句话说，在这里被填满的空东。两个空洞始终在无限表面的领域里。你们只要拉这两个空洞的这些边缘的每一个，就会形成这个主体，在这个无限的表面。总之，作为被形成，由总是圆环面的东西。即使它具有无限的半径的突出腹部。也就是一个把手出现在平面的表面。

This is what, at its maximum, the relationship of the subject
To the great All means at its maximum. We will see the applications
that we can make of it.

这就是在它的最大量，主体跟伟大的“全部”的关系，在它最大量的意义。我们将会看见我们对于它的这些运用。

What is important to grasp here, is that for this overlapping
between the object and the demand if the imaginary Other thus
constituted in the inversion of the functions of the circle of
desire with that of demand, the Other as regards the satisfaction
of the desire of the subject must be defined as without power
(Schema)
(sans pouvoir).

在此要理解的重要的东西是，对于这个重叠，客体与要求之间的重叠，假如想像界的大他者因此形成，在欲望的这个圆圈的功能的逆转，用要求的这个圆圈的功能的逆转，关于主体的欲望的满足，假如想像的大他者必须被定义作为是没有力量。

I insist on this “without”, because with it
there emerges a new form of negation in which there is indicated
properly speaking the effects of frustration. Without is a
negation, but not an indifferent one: it is a liaison-negation
which is well materialised in the English tongue, by the
conformist homology of two relationships of the two signifiers:
within and without. It is a bound exclusion which already in
itself alone indicates its reversal.

我坚持这个“没有”，因为随着这个“没有”，有一个新的否定的形式出现。在这个否定里，恰当地说，挫折的影响被指示。“没有”是一个否定，但是并不是冷漠的否定：它是一个公关-否定。在英文语言里，这个公关-否定清楚地被具体表现。用这两个能指的两个关系的妥协主义的同质性：内部与外部。这个一直约束的排除，光是在它的自身，就已经指示它的逆转。

(24) Let us take a further step, it is that of the “not without”
(pas sans). The Other is introduced of course into the naive
perspective of desire as without power, but essentially what
links him to the structure of desire is the “not without”.

让我们更加深入一步。那是“并非没有”的逆转。大他者当然被介绍进入欲望的天真的视野，作为“没有力量”。但基本上连接它更欲望的结构的东西，就是这个“并非没有”

He is
not either without power; this is why this Other whom we have
introduced qua metaphor in short of the unary trait, namely of
what we find at his level and what he replaces in an infinite
regression because it is the locus where there succeed one
another these l’s which are all different from one another, of
which the subject is only the metonymy, this Other as one – and
the play on words is part of the formula that I am employing here
to define the mode in which I introduced it – is rediscovered
once there is completed (bouclee) the necessity of the effects of
imaginary frustration as having this unique value, because it
alone is not without, not without power: it is posed as condition
at the possible origin of desire, even if this condition remains
in suspense.

大他者也“并非没有力量”。这就是为什么这个大他者，我们曾经介绍它，作为隐喻，总之作为独异性特征的隐喻。也就是，我们在他的层次所发现的东西的隐喻，在无限的退行里他所替换的东西。因为陆续接续而来的这个轨迹，这些的“我”彼此完全各有差异。主体仅是这些“我”的换喻。这个作为“一”的大他者。对于文字的遊戏是这个公式的部分。我在此正在使用这个公式，来定义我用来介绍它的模式。这个作为“一”的大他者被重新发现，一旦想像的挫折的影响的必要性被完成，作为具有这个独异的价值。因为光是这个独异的价值就是，并非没有，“并非没有力量“：它被提出作为这个情况，欲望的可能的起源。即使这个情况始终处于悬置当中。

For this it is like not one (comme pas un); it
gives to the (-1) of the subject another function which is
incarnated at first in this dimension, that this “like” situates
well enough for you as being that of metaphor.

对于这个情况，独异的价值酷似“负一“；它给予主体的这个负一（-1）另外一个功能。这个功能起初被具体表现在这个维度。这个“酷似”跟你们清楚地定位，作为是隐喻的维度。

It is at its
level, the level of the “like not one” and of everything which is
going to remain suspended from it subsequently, as what I have
called the absolute conditionality of desire, that we will have
to deal the next time, namely the level of the third term, of the
introduction of the act of desire as such, of its relationships
to the subject on the one hand at the root of this power, at the
rearticulation of the moments of this power, in so far as – as
you see – I shall have to go back over the not possible (pas
possible) to mark the path that has been completed by the
introduction of the terms power and without power. It is in so
(25) far as we will have to pursue this dialectic the next time
that I stop here today.

就是在隐喻的维度的层面，这个“酷似负一”的层面，随后将始终脱离它被悬置的每样东西的层面，作为我所谓的“欲望的绝对的条件”。下一次，我们将必须处理，换句话说，第三个术语的层次，欲望的行动自身的介绍，它跟主体的关系的介绍，一方面它处于这个力量的根源，处于这个力量的各个时刻的重新表达。如你们看见—我将必须回溯这个“不可能”，为了标示这个图径，已经被完成的途径，凭借介绍“力量”与“没有力量“这些术语。因为下次我们将必须追寻这个辩证法，今天我在此告一段落。

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

Identification 91

Identification 91
认同

Jacques Lacan
雅克 拉康

14.3.62 XIII
10
If there is, as you know, something which as one might say the
neurotic allows himself to be caught by from the start, it is
this trap; and he will try to make what is the object of his
desire pass into the demand, to obtain from the Other, not the
satisfaction of his need, for which the demand is made, but the
satisfaction of his desire, namely to have its object, namely
precisely what cannot be demanded – and this is at the origin of
what is called dependency in the relationships of the subject to
the Other – just as he will try more paradoxically still to
give satisfaction by conforming his desire to the demand of the
Other; and there is no other meaning, of correctly articulated
meaning I mean, to what is the discovery of analysis and of
Freud, to the existence of the super-ego as such. There is no
other correct definition, I mean no other one which allows us to
escape from confusing slippages.

众所周知，假如有某件东西，我们可以说，从一开始，神经症者容许他自己被这个东西捕捉。那就是这个陷阱。他将会尝试让他的欲望的客体的东西，进入这个要求，从大他者获得，不是他的需求的满足，因为要求是因为他的需求而成立的。而是获得他的欲望的满足，也就是拥有欲望的客体。换句话说，获得确实是无法被要求的东西。这就是所谓的依赖的起源，在主体与大他者的关系。正如他将更加悖论地尝试，为了给与满足，凭借将他的欲望妥协于大他者的要求。对于精神分析与弗洛依德的发现的无意识，没有其他的意义，我指的是没有其他正确被表达的意义，对于超我自身的存在。没有其他正确的定义，我指的是，没有其他的定义让我们能够从这个令人混淆的失误里逃避出来。

I think without going any further, that the practical, day-to-day
concrete resonances, namely the impasse of the neurotic, is at
first and above all the problem of the impasses of his desire,
this impasse which is tangible at every moment, massively
tangible, and against which you always see him stumbling. This
is what I would summarily express by saying that for his desire
(19) he has to have the sanction of a demand. What do you refuse
him, if not what he is waiting for you to demand of him – to
desire appropriately? Without going into what he expects from
his spouse, from his parents, from his offspring and from all the
conformities which surround him. What does this allow us to
construct and to perceive?

仅就此而言，我认为实际的，每日的具体的迴响，也就是神经症的僵局，起初，而且尤其重要的，就是他的欲望的僵局的问题。在每个时刻具体表现的僵局，非常具体地。你们总是看见神经症者面对这个僵局遭受挫折。这就是我总结想要表达的东西。对于他的欲望，神经症者必须拥有要求的认可。你们所拒绝他的东西，难道不是他正在等待你要求他的东西吗？合宜地欲望。但是没有进入他所期望的东西，从他的配偶，从他的父母，从他的后代，以及从环绕他的各种的一致性。这让我们能够建构什么，感知什么？

If it is the case that demand is renewed in accordance with the
circuits that have been made, in accordance with the full circles
all around and the successive returns which the return of need,
but encompassed by the loops of demand, necessitates, if it is a
fact that, as I gave you to understand through each of these
returns, which allows us to say that the elided circle, the
circle which I simply called the empty circle in order that you
should see what I mean with respect to the torus, comes here to
materialise the metonymyical object beneath all these demands.

假如情况是，要求被更新，以符合已经被形成的迴圈，符合所有的四周的完整圆圈与连续的回转，需求的回转所必需的回转，但是又是被要求的圈套涵盖。假如这是一个事实，当我让你们理解，通过每一个的这些回转，它让我们能够说，这些被漏掉的圆圈，我仅是称为是空洞圆圈的圆圈，为了让你们看见我是什么意思，关于这个圆环面。这是漏掉的圆圈来到这里，为了具体表现这个换喻的客体，在这些要求的底线。

A topological construction is imaginable of another torus which has
the property of allowing us to imagine the application of the
object of desire, the internal empty circle of the first torus,
onto the full circle of the second which establishes a buckle,
one of these irreducible loops.

另外一个圆环面的拓扑图形的建构能够被想像。这个圆环面拥有这个特性，让我们能够想像运用欲望的客体。第一个圆环们的内部的空洞的圆圈。运用到第二个圆环面对完整的圆圈，它建立一个环扣，这些无法化简单圈套之一。

(20) Inversely the circle of a demand on the first torus is here
superimposed on the other torus. The torus here a support of the
Other, the imaginary Other of frustration, is superimposed on the
empty circle of this torus, namely fulfils the function of
showing this inversion: desire in one, demand in the other,
demand of the one, desire of the other, which is the knot in
which there is trapped the whole dialectic of frustration. This
possible dependency of two topologies, that of one torus on that
of the other, expresses in short nothing other than what is the
goal of our schema in so far as we support it by the torus.

相反地，在第一个圆环面对要求的圆圈在这里被叠放在另一个圆环面上面。圆环面在此时大他者的支持。挫折的想象界的大他者。它被叠放在这个圆环们的空洞的圈圈，也就是满足显示逆转的这个功能：其中一个圆圈是欲望，另一个圆圈是要求。前者的要求，后者的欲望。在这个环结里，挫折的完整的辩证法被套陷在那里。这两个拓扑图型的可能的依赖，其中一个拓扑图形依赖另一个拓扑图形。总之，它表达的实实在在就是我们的基模的目标。因为没凭借这个圆环面支持它。

The fact is that if the space of Kantian intuition ought, I might
say, thanks to the new schema that we are introducing here, be
put in parenthesis, cancelled out, aufgehoben, as illusory
because the topological extension of the torus allows us to
consider only the properties of the surface, we are sure of the
permanence, of the solidity, as I might say, of the volume of the
system without having to have recourse to the intuition of depth.
What this images, as you see, is that by maintaining ourselves,
in the whole measure that our intuitive habits allow us, within
these limits, what results is that since all that is involved
between these two surfaces is a substitution by a bi-univocal
application, even though it is inverted, namely that once it is
cut out this will be in this direction on one of the surfaces and
in this other direction on the other.

事实上，假如康德的直觉的空间，应该被放置在括弧里面，被取消，被勾销，我不妨说，由于我们在此正在介绍的这个基模，作为是幻觉。因为这个圆环面的拓扑的延伸，让我们能够仅是考拉到表面的属性。我们确定这个系统的力量的永久性，正确性，不妨这样说。我们不需要诉诸于深度感的直觉。你们看见，这个基模表现的意象是，凭借维持我们自己，在我们直觉的习惯让我们能够的完整程度里，在这些限制之内，造成的结果是，因为这两个表面之间所牵涉的东西，是凭据双重的单音的运用的一种替换，即使它是被逆转。也就是说，一旦它被切割，朝著这个方向，这将会处于其中一个表面上面。朝著另一个方向，这将会处于另外一个表面。

(Schema)

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

The Symbols of Transformation 51

The Symbols of Transformation 51
转化的象征

Carl Jung
卡尔 荣格

CHAPTER III
第三章

THE HYMN OF CREATION
创造的圣歌

”
Before we enter upon Miss Miller’s attempt to bring
to light through her suppositions the
root of this subliminal
creation, we will attempt a short analytic survey
of the material already in our possession.

在我们探讨米勒小姐的企图，要通过她的假设启蒙这个升华的创造的根源的企图之前，我们将企图短暂地从事精神分析的研究我们已经拥有的材料。

The impression
on the ship has already been properly emphasized,
so that we need have no further difficulty in gaining possession
of the dynamic process which brought about this
poetical revelation.

轮船上的印象已经恰如其分地被强调，这样，我们就不需要遭遇更进一步的困难，来获得这个动力的过程，导致这个诗的启示的过程。

It was made clear in the preceding
paragraphs that Miss Miller possibly had not inconsiderably
undervalued the importance of the erotic impression
This assumption gains in probability through experience,
which shows that, very generally, relatively
weak erotic impressions are greatly undervalued

在前面对段落已经显而易见，米勒小姐相当地低估情爱的印象的重要性。这个假设通过精神分析而增添其可能性。精神分析经验显示：一般而比较微弱的印象强烈地被低估。

One
can see this best in cases where those concerned, either
from social or moral grounds, consider an erotic relation
as something quite impossible, for example, parents and
children, brothers and sisters, relations (homosexual)
between older and younger men, and so on If the impression
is relatively slight, then it does not exist at all
for the participator ; if the impression is strong, then a
tragic dependence arises, which may result in some great
nonsense, or be carried to any extent

我们在那些有关的情况，最能够看出这点，那些从社会或道德立场，他们看到情爱的关系，作为某件相当不可能的东西。譬如，父母与小孩，兄弟与姐妹，各种关系（同性恋），年长者与年轻人们，等等。假如这个印象比较轻微，那么它根本就不存在，对于参与者。假如印象强烈，那么就会产生悲剧的依靠。这会产生强烈的无意义，或被执行到任何程度。

This lack of understanding
can go unbelievably far; mothers, who see the
first erections of the small son in their own bed, a sistei
who half-playfully embraces her brother, a twenty-yeaiold
daughter who still seats heiself on her father’s lap,
and then has “strange” sensations in her “abdomen.”
They are all morally indignant to the highest degree if
one speaks of “sexuality.”

理解的这种欠缺能够深入得匪夷所思。母亲们看见小儿子在他们的床上的第一次的勃起，姐妹半开玩笑地拥抱她的兄弟，双十年华的女儿坐在她的父亲的膝盖上，因此在她的“腹部”有“奇异”的感觉。他们在道德方面都讨厌最高程度的感觉，假如他谈论到“性”。

Finally, our whole education
is carried on with the tacit agreement to know as little
as possible of the erotic, and to spread abroad the deepest
ignorance in regard to it It is no wonder, therefore,
that the judgment, in punctice, of the importance of an
erotic impression is generally unsafe and inadequate.

最后，我们整个的教育被执行，用这个默认的同意，尽可能不要知道情爱，并且将有关情爱的最深的无知散播到海外。因此，难怪，实际上，对于情爱的印象的重要性的判断，通常是不安全而且不足够。

Miss Miller was under the influence of a deep erotic
impression, as we have seen Because of the sum-total
of the feelings aroused by this, it does not seem that this
impression was more than dimly realized, for the dream
had to contain a powerful repetition. From analytic experience,
one knows that the early dreams which patients
bring for analysis are none the less of especial interest,
because of the fact that they bring out criticisms and
valuations of the physician’s personality, which previously,
would have been asked for directly in vain.

米勒小姐受到深度情爱的印象的影响。如同我们曾经看见的。因为由情爱引起的感觉到这个总数，这个印象似乎并不是模糊地被体会，因为梦必须包含强烈的重复。从精神分析的经验，我们知道，病人带给精神分析的早期的梦仍然具有特别的興趣，因为这个事实，它们显露批评与重视，对于医生的人格。在先前，这些早期的梦，本来会被直接问道，但是白费力气。

They
enrich the conscious impression which the patient had of
his physician, and often concerning very important points.
They are naturally erotic observations which the unconscious
was forced to make, just because of the quite universal
undervaluation and uncertain judgment of the
relatively weak erotic impression In the drastic and
hyperbolic manner of expression of the dream, the impression
often appears in almost unintelligible form on account
of the immeasurable dimension, of the symbol

它们丰富病人拥有的对于医生意识的印象，并且经常是关于非重要的点。它们是自然的情爱的观察，无意识被迫形成的观察。正因为这个相当普世地被低估，与不确定的判断，对于比较微弱的情爱的印象。以梦的强烈与夸张的方式，这个印象经常出现，以几何无法理解的形式，因为象征的无法衡量的维度。

A further
peculiarity which seems to rest upon the historic strata of
the unconscious, is this that an erotic impression, to
which conscious acknowledgment is denied, usurps an
earlier and discarded transference and expresses itself
in that. Therefore, it frequently happens, for example,
that among young girls at the time of their first love,
remarkable difficulties develop in the capacity for erotic
expression, which may be reduced analytically to disturbances
through a regressive attempt at resuscitation of
the father image, or the “Father-Imago.”

更加深入的特殊性似乎依靠无意识的历史的层次。这个特殊性是，情爱的印象，意识的承认被拒绝给予，它篡夺较早期与被抛弃的移情，并且在那里表达它自己。因此，经常发生的是，譬如，许多年轻女孩，在她们的初恋的时代，她们对于情爱的表达的能力，会有明显的困难显示。从精神分析上，情爱的表达可能被化简成为疾病，通过退转的企图，要复活“父亲意象”，或“天父-意象”。

Indeed, one might presume something similar in Miss
Miller’s case, for the idea of the masculine creative deity
is a derivation, analytically and historically psychologic,
of the “Father-Imago,” 7 and aims, above all, to replace
the discarded infantile father transference in such a way
that for the individual the passing from the narrow circle
of the family into the wider circle of human society may
be simpler or made easier

的确，我们可能假定某件东西类似米勒的情况。因为男性的创作的神性的观念是一种演变，精神分析与历史渊源是“父亲-意象”的心理。尤其重要的是，目标朝着要替换这个被抛弃的婴孩对父亲的移情，以这样一种方式。对于个人，从家庭的狭窄的圈子通过进入更加宽广的人类的社会，可能会更加单纯，更加容易。

In the light of this reflection, we can see, in the poem
and its “Praeludium,” the religious, poetically formed
product of an introversion depending upon the surrogate
of the “Father-Imago ”

从反思的观点，我们能够看见，在这首诗与其“序曲”，这个宗教，诗意形成的产物，依靠对”父亲-意象“的代理的内省的产物。

In spite of the incomplete apperception of the effectual impression, essential component
parts of this are included in the idea of compensation,
as marks, so to speak, of its origin, (Pfister has
coined for this the striking expression,
” Law of the Return
of the Complex”) The effectual impression was
that of the officer singing in the night watch,
” When the morning stars sang together ” The idea of this opened
a new world to the girl. (Creation )

尽管有效印象的这个不完整的统觉，这个统觉得基本组成的部分被包含在补偿的观念，作为它的起源的标记（普非斯托曾经替它铸造这个生动的意象。“情结的回转的法则“）有效的表达是那位夜晚守望的歌唱的船员的表达，”当晨星一块歌唱，“这个观念替这位女孩展开一个新世纪（创造）。

This creator has created tone, then light, and then
love. That the first to be created should have been tone,
can be made clear only individually, for there is no cosmogony
except the Gnosis of Hermes, a generally quite
unknown system, which would have such tendencies. But
now we might venture a conjecture, which is already ap
parent, and which soon will be proven thoroughly, viz.,
the following chain of associations: the singer the singing
morning stars the God of tone the Creator the
God of Light (of the sun) (of the fire) and of Love.

这位创造者已经创造音色，然后是光辉，然后是爱。第一个应该被创造的东西本来应该是音色。这仅是对于个人才是表达清楚。因为没有宇宙神学，除了赫密思的诺斯教义。这是一个通俗并不知道的系统。它将具有这些倾向。但是，现在，我们可以冒险猜测一下，那已经是非常明显。不久，它将彻底地被证明如下。以下的联想的锁链：歌唱者，歌唱晨星，音色的上帝，创造者，(太阳的)（火的）光辉的上帝，爱的上帝。

The Symbols of Transformation 49

The Symbols of Transformation 49
转化的象征

Carl Jung
卡尔 荣格

CHAPTER III
第三章

THE HYMN OF CREATION
创造的圣歌
THE second chapter in Miss Miller’s work is entitled,
“Gloire a Dieu. Poeme onuique.”

在米勒小姐的著作里第二章的标题

When twenty years of age, Miss Miller took a long
journey through Europe We leave the description of it
to her

二十岁时，米勒小姐在欧洲各地从事长途旅行。我们听她如何描述它。

“After a long and rough journey from New York to Stockholm,
from there to Petersburg and Odessa, I found it a true
pleasure to leave the world of inhabited cities and to enter
the world of waves, sky and silence I stayed hours long on deck to dream, stretched out in a reclining chair The histories, legends and myths of the different countries which I saw in the distance, came back to me indistinctly blended together in a sort of luminous mist, in which things lost their reality, while the dreams and thought alone took on somewhat the appearance of reality.

经过漫长而颠簸的旅行，从纽约到史德哥尔摩，从那里到彼得堡与奥德萨，我发现真实的快乐，离开原来居住的城市的世界，然后进入波浪，天空与沉默的世界。我在甲板上停留好几个小时梦想，躺在倾斜长椅。不同国家的历史，传说，与神话，我在远距离看见，模糊地回到我这里，混杂在一种神性的迷雾里。在迷雾里，事情丧失它们的真实，而梦与思想具有相当的现实的表象。

At first, I even avoided all company and kept to myself, lost
wholly in my dreams, where all that I knew of great, beautiful
new life. I also employed a great part of my time writing to my distant friends, reading and sketching out short poems about the regions visited Some of these poems were of a very serious character.”

起初，我甚至避免跟人交往，独自一人，完全陶醉在我的梦里。在那里，我所知道的一切，对于伟大，美丽的新生活。我也使用大部分的时间写信给我远地的朋友，阅读与描绘短诗，关于拜访的那些地区。这些诗有些属于非常严肃的特质。

It may seem superfluous, perhaps, to enter intimately
into all these details. If we recall, however, the remark
made above, that when people let their unconscious
speak, they always tell us the most important things of their intimate selves then even the smallest detail appears
to have meaning Valuable personalities invariably
tell us, through their unconscious, things that are generally
valuable, so that patient interest is rewarded
Miss Miller describes here a state of “introversion”

或许，这似乎是多余的，亲密地探讨这些细节。可是，假如我们回想一下，以上所说的这些谈论，当人们让他们的无意识言说，他们总是告诉我们有关他们最亲密的自我最重要的事情，，甚至细微末节看起来都具有意义。各个宝贵的人格人物告诉我们，通过他们的无意识，通俗价值的东西，所以病人的興趣会被给予酬报。米勒小姐在此描述“内省”的状态。

After the life of the cities with their many impressions
had been absorbing her interest (with that already discussed
strength of suggestion which powerfully enforced
the impression) she breathed freely upon the ocean, and
after so many external impressions, became engrossed
wholly in the internal with intentional abstraction from
the surroundings, so that things lost their reality and
dreams became truth.

城市生活，多彩多姿，曾经吸引她的興趣，（以上所讨论的暗示的力量，强烈地执行这个印象）。她自由地呼吸海上空气，经过如此众多的外在印象后，她完全沉迷于内在的心声，刻意从周遭环境抽离。这样，事物丧失它们的现实性，梦想成为真实。

We know from psychopathology
that certain mental disturbances
” exist which are first manifested by the individuals shutting themselves off
slowly, more and more, from reality and sinking into
their phantasies, during which process, in proportion as
the reality loses its hold, the inner world gains in reality
and determining power 3

我们从心理治疗学知道，某些精神的困扰存在。这些困扰首先由那些缓慢地封闭他们自己的个人们展示出来。逐渐地脱离现实，然后沉入他们的幻想里。在幻想的期间，随着现实丧失它的掌控，内部的世界逐渐成为现实，并且具有决定性的力量。

This process leads to a certain
point (which varies with the individual) when the patients
suddenly become more or less conscious of their
separation from reality The event which then enters
is the pathological excitation that is to say, the patients
begin to turn towards the environment, with diseased
views (to be sure) which, however, still represent the
compensating, although unsuccessful, attempt at transference.

这个过程到达某个点（因个人们情况而差异），当病人们突然变得越来越意识到他们的脱离现实。因此进入的事件就是病理的亢奋。换句话说，病人们开始转向环境，带着病态的观点（的确）。可是，这些病态观点依旧代表补偿的企图，虽然并未成功，企图想要移情。

4 The methods of reaction are, naturally, very
different. I will not concern myself more closely about
this here.

当然，反应的方式各有差异。在此，我将不再更加详细关注。

This type appears to be generally a psychological rule
which holds good for all neuroses and, therefore, also
for the normal in a much less degree We might therefore,
expect that Miss Miller, after this energetic and persevering introversion, which had even encroached for a
time upon the feeling of reality, would succumb anew to
an impression of the real would and also to just as suggestive
and energetic an influence as that of her dreams.
Let us proceed with the narrative:

这种情况似乎是通俗的心理的常规。对于所有的神经症者，这种常规都具有效性。因此，对于正常的人们，效果较低。我们因此可能期望，米勒小姐经过这场精神充沛而持续的内省之后，它有段时间甚至侵入现实的感觉。她将再次接受真实世界的这个印象，也接受同样具有暗示与精力充沛的影响，如同她的梦的影响。让我们继续这个描述：

‘ But as the journey drew to an end, the ship’s officers outdid themselves in kindness (tout ce qu’il y a de plus empresse et de plus aimable) and I passed many amusing hours teaching them English.

“但是随着旅途靠近终点，船上的服务人员表现得特别友善。我花费好几个小时教导他们英语。

On the Sicilian coast, in the haibor of Catania, I wrote a sailor’s song which was very similar to a song well known on the sea,(Brine, wme and damsels fine) The Italians in general all sing very well, and one of the officers who sang on deck during night, had made a great impression upon me and had given me the idea of writing some words adapted to his melody Soon
after that, I was very nearly obliged to reverse the well-known
saying,’ Veder Napoli e poi morir,’ that is to say, suddenly I became very ill, although not dangerously so.

在西西里岛的海岸，在卡达尼亚的港口，我写了一首水手的歌，类似一首著名的海上之歌（Brine, wme and damsels fine)。义大利人一般都朗朗上口。其中有一位水手晚上在甲板上歌唱，给我强烈的印象，并且给予我写作歌词配合他的旋律的念头。我几乎不得不逆转这个著名的格言：’ Veder Napoli e poi morir,’看见拿波里湾，死亦无憾”。换句话说，我突然生病，虽然并没有病得那么重。

I recovered to
such an extent, however, that I could go on land to visit the
sights of the city in a carriage This day tired me very much,
and since we had planned to see Pisa the following day, I went
on board early in the evening and soon lay down to sleep without
thinking of anything more serious than the beauty of the officers and the ugliness of the Italian beggars
”
可是，我康复很快，我能够登上陆地，坐著马车参观城市的各个景点。这一天我精疲力尽。因为我们曾经计划第二天参观比萨斜塔，我黄昏时很早登船，不久就沉沉入睡，没有想到任何其他事情，除了服务船员们的帅俊，与那些义大利乞丐的丑陋。

One is somewhat disappointed at meeting here, instead
of the expected impiession of reality, rather a small intermezzo, a flirtation

我们相当失望，对于在此的会面。它并不是期望中的现实的印象，而是小小的插曲，挑逗的风情。

Nevertheless, one of the officers,
the singer, had made a great impression (il m’avait fait
beaucoup d’impression) The remark at the close of the
description,
“sans songer a rien de plus seneux qu’a la
beaute des officiers,’ and so on, diminishes the seriousness
of the impression, it is true

可是，其中一位服务船员，那位歌手，给予强烈的印象。描述的结尾的谈话”sans songer a rien de plus seneux qu’a la
beaute des officiers, 等等，确实将印象的严肃性减低。

The assumption, however,
that the impression openly influenced the mood very
much, is supported by the fact that a poem upon a subject
of such an erotic character came forth immediately,
“Brine, wine and damsels fine,” and in the singer’s honor.

可是，印象会公开地影响心情的这个假设，受到这个事实支持。一首诗探讨如此情色特性的主题，立即出现“海水，醇酒，美少女”歌手唱得娓娓动听。

One is only too easily inclined to take such an impression
lightly, and one admits so gladly the statements of the
participators when they represent everything as simple
and not at all serious I dwell upon this impression at
length, because it is important to know that an erotic impression after such an Introversion, has a deep effect and
is undervalued, possibly, by Miss Miller The suddenly
passing sickness is obscure and needs a psychologic interpretation
which cannot be touched upon here because of
lack of data.

我们非常容易倾向于对这样的印象轻忽看待。我们如此高興承认，参与者的这些陈述，当它们代表如此单纯而且不严肃的东西。我详细地描述这个印象，因为重要的是要知道，经过如此的内省的情色印象具有深刻的效果，而且可能被米勒小姐低估。这个突然来临的生病是模糊的，需要心理学的诠释。在此因为欠缺资料，无法谈论。

The phenomena now to be described can
only be explained as arising from a disturbance which
reaches to the very depths of her being

应该在这里被描述的这些现象，仅能够被解释作为是起源于一种疾病，碰触到她的生命实存的最深处。

” From Naples to Livorno, the ship travelled for a night,
during which I slept more or less well, my sleep, however, is
seldom deep or dreamless. It seemed to me as if my mother’s
voice wakened me, just at the end of the following dream At
first I had a vague conception of the words,
‘ When the morning
stars sang together,’ which were the praeludium of a certain confused
representation of creation and of the mighty chorals resounding
through the universe.

“从拿波里湾到利瓦诺，轮船航行一个晚上。在这一晚，我睡得相当安稳。可是，我的睡眠并没有深入，也并非没有作梦。我觉得好像我的母亲的声音唤醒我。就在以下的梦的结束。起初，我对这次话语观念模糊:”当晨星一块歌唱，”这是序曲，某种创造的再现与普世的伟大合唱的序曲。

In spite of the strange, contradictory
and confused character which is peculiar to the dream,
there was mingled in it the chorus of an oratorio which has been given by one of the foremost musical societies of New York, and with that were also memories of Milton’s f Paradise Lost.’

尽管这个奇怪，矛盾而混淆的特性，那是梦所特有的。在它里面混合着圣歌的合唱，由纽约最重要的音乐乐团所演奏的圣歌。跟随而来的是密尔顿的“失乐园”的记忆诗句。

Then
from out of this whirl, there slowly emerged certain words, which arranged themselves into three strophes and, indeed^ they seemed to be in my own handwriting on ordinary blue-lined writing paper
on a page of my old poetry book which I always carried around with me; in short, they appeared to me exactly as some minutes later they were in reality in my book ”

然后，从这个旋涡当中，缓慢地出现某些的话语，自己安排成为三个诗节。的确，用我自己的书写在普通的蓝色的书写纸上，它们似乎这样，在我总是带在身边的我古旧诗集的一页。总之，我觉得它们确实是如同几分钟以后，它们现实上在我的诗集里。

Miss Miller now wrote down the following poem,
which, she rearranged somewhat a few months later, to
make it more nearly, in her opinion, like the dream
original

米勒小姐现在写下以下的这首诗。几个月以后，她相当地重新修改，为了让它更加像是靠近梦的原版。

” When the Eternal first made Sound
A myriad ears sprang out to hear,
And throughout all the Universe
There rolled an echo deep arid clear:
All glory to the God of Sound !

当永恒首次发出声音
无数耳朵倾注聆听
普世宇宙的每一个处所
回声清楚地隆隆而响
声音的各种荣耀归于上帝!

” When the Eternal first made Light
A myriad eyes sprang out to look,
And hearing ears and seeing eyes
Once more a mighty choral took
All glory to the God of Light 1

当永恒首次闪亮光辉
无数眼睛注目凝视
聆听的耳朵与凝视的眼睛
再次形成壮观的合唱阵容
光辉的一切荣耀都归于上帝！

” When the Eternal first gave Love
A myriad hearts sprang into life,
Ears filled with music, eyes with light;
Pealed forth with hearts with love all rife-
All glory to the God of Love !

当永恒首次给出爱
无数的心绽放生命
耳朵盈溢音乐，眼睛充满光辉
爱心嘹亮，响彻云霄
爱的一切荣耀归于上帝！

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

The Symbols of Transformation 45

The Symbols of Transformation 45
自性的转化

Carl Jung
卡尔 荣格

CHAPTER II
第二章

THE MILLER PHANTASIES
米勒的幻想
The Symbols of Transformation 42

Besides this story of identification with Christian, there
follows as a further example an extraordinarily plastic
memory of the sea, evoked by the sight of a photograph of
a steamboat on the high seas (” Je sentis les pulsations
des machines, le soulevement des vagues, le balancement
du navire “)

除了对于基督徒的认同的这个故事外，后面跟随着一个特殊的对于大海的弹性的记忆，作为更进一步的例子。由于看见汪洋大海的轮船的照片所激发。

We may mention here the supposition that there are
connected with sea journeys particularly impressive and
strong memories which penetrate deeply into the soul
and give an especially strong character to the surface
memories through unconscious harmony To what extent
the memories assumed here agree with the above mentioned
problem we shall see in the following pages.

我们在此可以提到这个假设：跟海洋旅行联想一块的是那些特殊而强烈的记忆。这些记忆深深地贯穿进入灵魂，并且给予非常特殊的强烈的特性，通过无意识的和谐，进到表面记忆。在此被认为的这些记忆认同以上提到的难题到什么程度，我们将在以下的几页看见.

This example, following at this time, is singular Once,
while ‘in bathing, Miss Miller wound a towel around her
hair, in order to protect it from a wetting. At the same
moment she had the following strong impression

在此时随之而来的这个例子非常奇特。有一次，当她在沐浴时，米勒小姐用毛毛环绕她的头发，为了保护头发不要淋湿。同时，她拥有以下的强烈的印象。

” II me sembla que j’etais sur un piedestal, une veritable statue egyptienne, avec tous ses details membies raides, un pied en avant, la mam tenant des insignes,” and so on

Miss Miller identified herself, therefore, with an Egyptian
statue, and naturally the foundation for this was
a subjective pretension That is to say,
“I am like an Egyptian statue, just as stiff, wooden, sublime and impassive,” qualities for which the Egyptian statue is proverbial One does not make such an assertion to one’s
self without an inner compulsion, and the correct formula
might just as well be, “as stiff, wooden, etc,, as an Egyptian statue I might indeed be ” The sight of one’s own unclothed body in a bath has undeniable effects for the phantasy, which can be set at rest by the above formula. 2

米勒小姐因此认同埃及的雕像。当然，这种认同的基础是主观的伪装。换句话说，“我就像一尊埃及的雕像，同样地僵化，木讷，升华与被动”的特质，埃及的雕像的通俗的特质。每当我们对我们的自己做如此的主张，我们就会有内在的冲动。正确的公式很可能是：“同样的僵化，木讷，等等，作为一尊埃及的雕像，我确实可能是”。 看见自己沐浴时没有穿着衣服的身体，对于幻想具有无法否认的影响。根据以上的公式可以让幻想安定下来。

The example which follows this, emphasizes the
author’s personal influence upon an artist

随之而来的这个例子强调作者的个人对于艺术家的影响 ：

” J’ai leussi a ku fane icrtdre des paysages, comme ceux du
lac Leman, oil il n’a jamais etc, et il pietendait que je pouvais lui faire icndie des choses qu’il n’avait jamais vues, ct lui donner la sensation d’une atmosphere ambiante qu’il n’avait jamais sentLe; bref que je me seivais de lui comme lui-meme se sei-vait de son ciayon, c’est a due comme d’un simple insti uraent ”

This observation stands in abrupt contrast to the phantasy
of the Egyptian statue Miss Miller had here the
unspoken need of emphasizing her almost magic effect
upon another person This could not have happened,
either, without an unconscious need, which is particularly
felt by one who does not often succeed in making an
emotional impression upon a fellow being.

这个观察跟埃及雕像的幻想具有突显的对照。米勒小姐在此拥有无以言喻的需要，强调她几乎魔术般的影响，对于另外一个人。假如没有无意识的需要，这种影响本来也不可能发生的。这种无意识的需要特别被感觉到，对于一位并没有经常成功于从情感的印象加诸于同胞的人而言。

With that, the list of examples which are to picture
Miss Miller’s autosuggestibility and suggestive effect, is
exhausted In this respect, the examples are neither
especially striking nor interesting From an analytical
viewpoint, on the contrary, they are much more important,
since they afford us a glance into the soul of the
writer. Ferenczi has taught us in an excellent work
what is to be thought about suggestibility, that is to say,
that these phenomena win new aspects in the light of the
Freudian libido theory, in so much as their effects become
clear through “Libido-besetzungen ”

随着无意识的需要，应该用来描绘米勒小姐的自动的暗示与暗示的影响的例子的名单，就耗用尽了。在这方面，这些例子既不特别的引人注意，也不特别有趣。相反地，从精神分析的观点，它们更加地重游。因为它们让我们能够瞥见作者的灵魂。在一本有关被认为是探讨暗示的优秀的著作，费伦奇曾经教导我们，也就是说，这些现象赢得新的层面，从弗洛伊德的力比多的理由的观点。因为它们的影响通过“力比多的生命力”变得显而易见。

This was already
indicated above in the discussion of the examples,
and in the greatest detail regarding the identification
with Christian. The identification becomes effective by
its receiving an influx of energy from the strongly accentuated thought and emotional feeling underlying the
Christian motif. Just the reverse is the suggestive effect
of the individual in an especial capacity for concentrating
interest (that is to say, libido) upon another person, by
which the other is unconsciously compelled to reaction
(the same or opposed).
在以上的例子的讨论里，这个力比多的生命力已经被指示。非常详尽地，关于对于基督徒的认同。这个认同变得有效，由于它接收精力能源的流入，从强烈被强调的思想与情绪的感觉，作为基督徒的母题的基础。完全相反的东西是个人的这个暗示的影响，它具有特殊的能力专注興趣（也就是，力比多生命力）于另外一个人身上。 凭借这个能力，另外一个人无以识地被迫作出反应（相同或相反的反应）。

The majority of the examples
concern cases where Miss Miller is put under the effects
of suggestion; that is to say, when the libido has spontaneously gained possession of certain impressions, and
this is impossible if the libido is dammed up to an unusual
degree by the lack of application to reality Miss
Miller’s observations about suggestibility inform us,
therefore, of the fact that the author is pleased to tell
us in her following phantasies something of the history
of her love.

大多数的这些例子关心的这些情况，在那里，米勒小姐被放置在暗示的影响之下：换句话说，当力比多生命力自动自发地获得拥有某些的印象。这是不可能的，假如力比多生命力被阻止到不寻常的程度，由于欠缺运用到现实。因此，米勒小姐关于暗示的观察告诉我们这个事实：作者很乐意告诉我们，用她的以下的幻想，有关她的恋爱的历史的某件东西。

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

Identification 90

Identification 89
认同

Jacques Lacan
雅克 拉康

14.3.62 XIII 159

(17) This dimension of loss essential to metonymy, the loss of
the thing in the object, is the true sense of this thematic of
the object qua lost and never refound, the same one which is at
the basis of the Freudian discourse and is ceaselessly repeated.

对于换喻非常基本的丧失的维度，在客体身上物象的丧失，就是客体作为失落而且永远没有被重新发现的客体的这个主题的真实的意义。这个相同的客体作为弗洛依德辞说的基础，不断地被重复。

One further step, if we push metonymy further, as you know, it is
the loss of something essential in the image, in this metonymy,
which is called the ego, at this point of the birth of desire, at
this point of pallor at which St Augustin pauses before the
infant at the breast as Freud did before his grandson eighteen
centuries later. It is false to say that the being of which I am
jealous, the brother, is my fellow (semblable): he is my image in
the sense that the image involved is the founding image of my
desire. Here is the imaginary revelation, and it is the meaning
and the function of frustration. All of this is already known.
I am only recalling it as the second source of the experience.
After real privation, imaginary frustration.

更加深入的一个步骤，假如我们将换喻逼进更远，你们知道，那就是意象里的某件东西的丧失，在这个换喻里，它被称为自我，在欲望的诞生的这个时刻。在苍白的这个时刻，圣奥古斯丁停顿的时刻，在婴孩的面前，对着这个乳房，如同几世纪以后，弗洛依德停顿在他的孙子面前。这样说是虚假的，我妒忌的这个人，兄弟，是我的同胞：他是我的意象，因为被牵涉的这个意象，就是我的欲望的创建的意象。在此时想象界的启示。这就是挫折的意义与功能。所有这一切已经被知道。我仅是提醒它，作为是精神分析经验的第二个来源。在实在界被剥夺之后，就是想像界的挫折。

But, just as I
tried today to situate for you the use of real privation at the
term which interests us, namely in the founding of the symbolic,
in the same way, we have to see here how this fundamental
revelatory image of desire is going to be placed in the symbolic.

但是正如我今天尝试跟你们定位实在界的剥夺的使用，这个术语让我们感到興趣。也就是说，以象征界作为基础，同样地，我们必须在此看见，欲望的这个基本的启示的意象将要被放置在象征界。

This placing is difficult. It would of course be quite
impossible if the symbolic were not there, if – as I have
reminded you, always hammered out for a long enough time for this
to have got into your head – if the Other and the discourse in
which the subject has to place himself were not always waiting
for him before his birth and that he is spoken to, at least
(18) through the mediation of his mother, of his nurse.

这个放置是困难的。当然，假如象征并不在那里，那将是完全不可能的。如同我曾经提醒过你们，假如大他者与辞说总是经过漫长的时间被锤炼出来，为了让这个已经进入你的脑海，假如在主体必须放置他自己的辞说里，假如大他者与辞说未必正在等待他，在他诞生之前，对他从事言谈的，至少通过他的母亲，他的乳妈的中介进行。

The mainspring involved, the one which is both the abc, the infancy
of our experience, but which for some time people do not know how
to go beyond for want precisely of knowing how to formalise it as
abc, is the following, namely the intersection, the naive
exchange which is produced somewhere in the dimension of the
Other between desire and demand.

牵涉到的这个动力来源，即使初级开始，我们精神分析经验的初期的这个动力来源。但是有段时间来，人们并不知道如何超越，因为确实欠钱知道，如何让它成为形式，作为初期开始。牵涉的动力来源如下，也就是说，这个交会，这个天真的交换。它在某个地方被产生，在欲望与要求之间的大他者的维度的某个地方。

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

Identification 89

Identification 89
认同

Jacques Lacan
雅克 拉康

14.3.62 XIII 158

The next step is centred – I could just as well not put in a
chapter heading here, I am doing it for didactic purposes – it is
that of frustration. It is at the level of frustration that
there is introduced with the Other the possibility for the
(15) subject of a essential new step.

下一步骤被作为中心—我很有理由不将它放置在这里的标题的章节。我正在从事探讨它，作为教学目的。那是挫折的层面。就在挫折的层面，作为一个基本的新步骤的主体的可能性，随着大他者被介绍。

The 1 of the unique all,
the 1 which distinguishes each repetition in its absolute
difference, does not come to the subject, even if its support is
nothing other than that of the real stroke, does not come from
any heaven, it comes from an experience constituted for the
subject with whom we have to deal, by the existence, before he
was born, of the universe of discourse, by the necessity that
this experience supposes the locus of the Other with a big 0 as I
have previously defined it.

这个独特性的“全部”的“一”，区别每个重复的这个“一”，在它的绝对的差异里，并没有来到这个主体，即使对于它的支持实实在在就是这个真实的笔画的“一”。它并不是来自任何天堂。它来自为了主体而形成的经验，我们必须处理的主体。凭借在他诞生之前宇宙辞说的存在，凭借这个经验假设大他者的轨迹的必要性，具有一个大写字母的O，如同我先去定义它。

It is here that the subject is going to conquer the essential,
what I called this second dimension, in so far as it is a radical
function of his own location in its structure if it is the case
that metaphorically, but not without claiming in this metaphor to
reach the very structure of the thing, we call this second
dimension a torus structure in so far as among all the others it
constitutes the existence of loops irreducible to a point, of
non-vanishing loops.

就在这里，主体将要征服这个基本的东西，我所谓的第二个维度。因为这是一个激进的功能，他自己位置于它的结构的激进功能。假如情况是这样，隐喻上，但是还是在这个隐喻里，宣称到达生命实存的这个结构。我们称这个第二维度为圆环面结构。因为在所有其他的结构里，它形成圈套的存在。这些圈套无法被化简成为一个点，因为它们是永恒无法消失的圈套。

It is in the Other that there comes
necessarily to be incarnated this irreducibility of the two
dimensions in so far as, if it is tangible somewhere, it can only
be, because up to the present the subject is only for us the
subject in so far as he speaks, in the domain of the symbolic.
It is in the experience of the symbolic that the subject must
encounter the limitation of his displacements which makes him
enter at first into the experience of the high point, as I might
say, the irreducible angle of this duplicity of the two
dimensions.

这两个维度的无法化简，必然逐渐被具体表现在这个大他者。假如它在某个地方具体表现，它仅能够在象征的领域。因为直到现在，主体仅是为了我们才成为主体。因为他言说，在象征界的领域。就在象征界的经验里，主体必须遭遇他被替换的这个限制。这让他起初进入这个高点的经验。我不妨说，这两个维度的双重性的无法化简的角度。

This is how the schema of the torus is going to be of the
(16) greatest use to me – as you are going to see – by starting
from the experience so highly valued by psychoanalysis and the
observation that it gives rise to. The subject can attempt to
speak the object of his desire.

这就是这个圆环面对于我将会具有重大用途的方式—如同你们将会看见—凭借从这个经验开始，被精神分析如此高度重视的经验，以及它产生的观察。主体能够企图言说他的欲望的客体。

He does nothing but that. It is
more than an act of enunciating, it is an act of imagining. This
gives rise in him to a manoeuvre of the imaginary function and
this function necessarily reveals itself to be present once
frustration appears.

主体仅是这样做。这不仅是表述的行动，这是想像的行动。这在他身上产生一种想像的功能的策略，这个功能必然显示它自己在现场，一旦挫折出现。

You know the importance, the accent that I
in the wake of others, specifically St Augustin, put on the
moment of the awakening of jealous passion in the constitution of
this type of object which is the very one that we have
constructed as underlying each of our satisfactions:

你们知道这个重要性，我追随别人，特别是圣奥古斯丁，提出的强调，就是妒忌的激情的觉醒的时刻，在这种客体的形成。这种客体就是我们曾经建构的客体，作为是我们的每个满足的基础。

the little
child a prey to jealous passion before his brother who for him
makes arise in an image the possession of this object,
specifically the breast, which up to then was only the underlying
object elided, masked for him behind this return of a presence
linked to each of his satisfactions, which was in this rhythm
where there is inscribed, where there is sensed the necessity of
his first dependency, only the metonymical object of each one of
its returns; here it is suddenly produced for him in the
light with effects signaled for us by his mortal pallor, the
light of the something new which is desire: the desire of the
object as such in so far as it resonates to the very foundation
of the subject, that it shakes him well beyond his constitution
as satisfied or not, as suddenly menaced in his innermost being,
as revealing his fundamental lack, and this in the form of the
Other as bringing to light both metonymy and the loss it
conditions.

这个小孩是妒忌的激情的猎物，在他的兄弟之前。对于他，这位兄弟让这个客体的拥有在意象里产生。明确地说，就是这个乳房。直到当时，乳房仅是作为基础的逃避的客体。对于他，这个逃避的客体被遮蔽在跟他的每个满足的存在息息相关的这个回转的背后。他的每个满足就在这个韵律里，在那里，仅有换喻的客体被铭记，在那里，他起初的依靠的必要性被理解，每个欲望的回转的换喻的客体。在此，这个客体突然地为了他而被产生。由于他作为有限生命的苍白跟我们指示的影响。这个某件新的东西的光辉，就是欲望。客体的欲望的本身，因为它迴响，针对主体的基础。这个客体的欲望动摇主体，远超过他的身体结构，作为满足或不满足，作为突然受到威胁，在他最内在的生命实存里。作为显示他的基本的欠缺。以大他者的形态的这个欠缺，启蒙它制约的换喻与失落。

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

The Symbols of Transformation 42

The Symbols of Transformation 42
自性的转化

Carl Jung
卡尔 荣格

CHAPTER II
第二章

THE MILLER PHANTASIES
米勒的幻想

WE know, from much psychoanalytic experience, that
whenever one recounts his phantasies or his dreams, he
deals not only with the most important and intimate of
his problems, but with the one the most painful at that
moment

根据许多精神分析的经验，我们知道，每当一个人描述他的幻想或他的梦想，他处理的不仅是他最重要而且最亲密的难题，而是处理在当时最令人痛苦的难题。

Since in the case of Miss Miller we have to do with a
complicated system, we must give our attention carefully
to the particular which I will discuss, following as best
I can Miss Miller’s presentation

因为在米勒小姐的情况，我们必须处理一个复杂的系统。我们必须仔细地给予我们的注意力，对于我将讨论的细节。我尽我可能地遵循米勒小姐的呈现。

In the first chapter,
” Phenomenes de suggestion passagere
ou d’autosuggestion instantanee,” Miss Miller
gives a list of examples of her unusual suggestibility,
which she herself considers as a symptom of her neivous
temperament, for example, she is excessively fond of
caviai, whereas some of her relatives loathe it.

在第一章“暗示过程的现象与瞬间的自动暗示”，米勒小姐给出她的不寻常的暗示的例子的名单。她自己认为是她的神经质的性情的征状。譬如，她过度喜欢鱼子酱，虽然她的一些亲戚讨厌鱼子酱。

However,
as soon as any one expresses his loathing, she herself
feels momentarily the same loathing I do not need
to emphasize especially the fact that such examples are
very important in individual psychology, that caviar is
a food for which nervous women frequently have an
especial predilection, is a fact well known to the psychoanalysis

可是，当任何人表达他的讨厌鱼子酱，她自己就暂时感觉相同的讨厌。我无需特别强调这个事实：诸如其类的例子在个人心理学非常重要。鱼子酱是神经质的女人经常拥有特别的喜爱的食物。这是精神分析众所周知的事情。

Miss Miller has an extraordinary faculty for taking
other people’s feelings upon herself, and of identification;
for example, she identifies herself to such a degree
in “Cyrano”with the wounded Christian de Neuvillette,
that she feels in her own breast a truly piercing pain at
that place where Christian received the deadly blow.

米勒小姐有特殊的能力将别人的感觉承担在她自己身上。譬如，就认同而言，她在“大鼻子情圣”里，她相当程度认同于那位受伤的基督徒，钮维利特。在她的心胸，她感觉到确实贯穿心脾的痛楚，就在那位基督徒接受致命的打击的那个位置。

From the viewpoint of analytic psychology, the theatre,
aside from any esthetic value, may be considered as an
institution for the treatment of the mass complex。 The
enjoyment of the comedy, of the dramatic plot ending
happily is produced by an unreserved identification of
one’s own complexes with the play The enjoyment of
tragedy lies in the thrilling yet satisfactory feeling that
something which might occur to one’s self is happening
to another。

从精神分析心理学的观点，这齣戏剧，除了美学的价值外，可以被认为是疗愈集体情结的体制。这个喜剧的欢乐，快乐结局的戏剧情节的欢爽被复制，由于毫无保留的认同自己跟戏剧的情结。悲剧的欢爽则是在于令人興奋又令人满足的感觉，可能发生在自己的自性的事情发生在另外一个人身上。

The sympathy of our author with the dying
Christian means that there is in her a complex awaiting
a similar solution, which whispers softly to her
” hodietibi, eras mihi,” and that one may know exactly what is considered the effectual moment Miss Miller adds that
she felt a pain m her breast, Lorsque Sarah Bernhardt
se precipite sui lui poui etancher le sang de sa blessure
” Theiefore the effectual moment is when the love between
Christian and Roxane comes to a sudden end

我们的作者对于垂死的基督徒的同情意味着，在他身上，有一个等待类似解决的情结。这个情结小声对他说：“hodietibi, eras mihi”我们可能确实地知道什么被认为是有效的时刻，当米勒小姐补充说：她在她的心胸感觉痛苦。sque Sarah Bernhardt se precipite sui lui poui etancher le sang de sa blessure。因此，有效的时刻是，基督徒与罗善尼之间的爱突然结束。

If we glance over the whole of Rostand’s play, we
come upon certain moments, the effect of which one cannot
easily escape and which we will emphasize here because
they have meaning for all that follows Cyrano de
Bergeiac, with the long ugly nose, on account of which
he undertakes countless duels, loves Roxane, who, for
her part unaware of it, loves Christian, because of the
beautiful verses which really originate from Cyrano’s
pen, but which apparently come from Christian.

假如我们瞥见整个的罗斯坦德的戏剧，我们会遭遇某些的时刻。我们无法轻易地逃避这些时刻的效果，而且我们将在此强调它们。因为它们具有意义，尽管跟随大鼻子情圣柏杰克而来的东西，他有长的丑陋鼻子。因为那样，他从事无数次的决斗，爱上罗善尼。就罗善尼而言，她并不知道他爱她。她爱基督徒，因为这些美丽的诗篇，真是地从大鼻子情圣的笔端流露出来，但是这些美丽的诗篇显而易见是来自基督徒。

Cyrano
is the misunderstood one, whose passionate love and
noble soul no one suspects; the hero who sacrifices himself
for others, and, dying, just in the evening of life,
reads to her once more Christian’s last letter, the verses
which he himself had composed

大鼻子情圣是被误解的基督徒。他的激情的爱与高贵的灵魂，没有人怀疑。这位为了别人自我牺牲的英雄，垂死时，就在生命的黄昏，再次朗读给她听基督徒的最后的信件，那是他自己亲自写作的诗篇：
”
Roxane, adieu, je vais mourir!
C’est pour ce soir, je crois, ma bien-aimee!
J’ai 1’ame lourde encore d’amour mexpnme.
Et je meurs’ Jamais plus, jamais mes yeux grises,
Mes regards dant c’etait les fremissantes fetes,
Ne baiseront au vol les gestes que vous faites,
J’en revois un petit qui vous est familier
Pour toucher votre front et je voudrais crier .
Et je cne

Adieu ‘ Ma chere, ma cherie,
Mon coeur ne vous quitta jamais une seconde,
Et je suis et je serai j usque dans 1’autre monde
Celui qui vous aime sans mesure, celui

”
Whereupon Roxane recognizes in him the real loved
one It is already too late , death comes , and in agonized
delirium, Cyrano raises himself, and draws his sword :

虽然罗尼从他身上体认出这位被爱的基督徒，为时已晚。死亡来临，在痛苦的谵妄里，大鼻子情圣站立起来，抽查他的剑。

”
Je crois, qu’elle regard e .
Qu’elle ose regarder mon nez, la camarde!
(II leve son epee )
Que dites-vous ?
. . . C’est inutile!
Je le sais!
Mais on ne se bat pas dans 1’espoir du succes!
Nonl Non! C’est bien plus beau, lorsque c’est inutile!
Qu’est-ce que c’est que tous ceux-la? Vous etes mille?
Ah! je vous reconnais, tous mes vieux ennemls!
Le mensongel
(II frappe de son epee le vide.)

Tiens, tiens, ha! ha! les Compromis,
Les Prejuges, les Lachetesl
(II frappe.)
Que je pactise ?
Jamais, jamaisl Ah, te voila, toi, la Sottise!
Je sais bien qu’a la fin vous me mettrez a has ;
N’importe je me bats! je me batsl je me bats!
Oui, vous m’arrachez; tout, le launer et la rose!
Arrachez ! II y a malgre vous quelque chose
Que j’emporte, et ce sotr, quand j’entrerai chez Dieu,
Mon salut balaiera largement le seuil bleu
Quelque chose que sans un pli, sans une tache,
J’emporte malgre vous, et c’est mon panache.”

Cyrano, who under the hateful exterior of his body
hid a soul so much more beautiful, is a yearner and one
misunderstood, and his last triumph is that he departs,
at least, with a clean shield ”

大鼻子情圣在他其貌不扬的身体背后，隐藏一颗如此更加美丽的灵魂。他是一位渴望者，而且是被误解的渴望者。他的最后的胜利是，至少他是带着一个乾净的盾牌离开。

Sans un ph et sans une
tache.”

The identification of the author with the dying
Christian, who in himself is a figure but little impressive
and sympathetic, expresses clearly that a sudden end is
destined for her love just as for Christian’s love. The
tragic intermezzo with Christian, however, is played as
we have seen upon a background of much wider significance,
viz , the misunderstood love of Cyrano for
Roxane. Therefore, the identification with Christian
has only the significance of a substitute memory (” deckerinnerung”), and is really intended for Cyrano. That
this is just what we might expect will be seen in the
further course of our analysis

作者对于垂死的基督徒清楚地表示，一个突然的结束注定给她的爱，正如同给予基督徒的爱。垂死的基督徒自身就是一个仅是稍具生动与同情的人物。可是，跟基督徒的悲剧的插曲被演出，当我们看见在更加宽广意义的背景，出现大鼻子情圣对于罗善尼的被误解的爱。因此，认同于基督徒仅是具有替换记忆的意义。这种认同确实是用来给予大鼻子情圣。在我们精神分析的更加深入的探讨，将会看出，这仅是我们可能期望的东西。

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