“三个匣子”背后的怜悯与恐惧

Pity and Fear Behind the Three Caskets

弗洛伊德《三个匣子的主题》标的所向不是他所长的个人无意识,而是荣格以神话为背景的集体无意识。弗洛伊德判定巴萨尼奥选择铅匣话语不多,而且牵强。但其实巴萨尼奥滔滔不绝,雄辩不下于他的两位倒霉先驱。牵强的是否弗洛伊德本人?弗洛伊德以《金驴记》和格林童话等作品旁证《威尼斯商人》和《李尔王》中的三择其一主题,论证最美好的小女必沉默寡言,而哑代表死亡,应同样缺乏充分说服力。弗洛伊德坦陈写作此文同牵记小女安娜有关,用他本人的反应形成理论来看,与其说出于布鲁姆认为的荒谬绝伦的反向埃拉克特拉情结,莫若说是叙写了弗洛伊德本人的一种怜悯与恐惧无意识,精神分析临床经验与文学活动之间,应同样存在着巨大沟壑,而远非弗洛伊德想象的那样亲密无间。

The theme of Freud＇s ＂The Theme of the Three Caskets＂ is not of personal unconsciousness which the author promoted, but of Carl Jung＇s collective unconsciousness. For Freud, Bassanio＇s monologue as he chooses the lead casket is short and reluctant. However, the fact that Bassanio is as eloquent as his two predecessors may indicate that it is Freud who is reluctant to tell his complex. Taking The Golden Ass and Grimm＇s Fairy Tales to illustrate the theme of three caskets or sisters in Merchant of Venice and King Lear, Freudconcludes that the youngest and best one always keeps silent, and silence is the symbol of death; his conclusion is also rather reluctant. As Freud confesses, the article is related to his little daughter Anna. However, according to his theory of reaction formation, it may well display the pity and fear in Freud＇s own unconsciousness rather than from Bloom＇s absurd reverse Electra complex. There is a wider gap between the clinical experience of psychoanalysis and literary activity than Freud had expected.