The Symbols of Transformation 42

The Symbols of Transformation 42

Carl Jung
卡尔 荣格



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


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


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.


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


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.


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。


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.


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


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 :


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 ”


Sans un ph et sans une

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



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