Freud 1942a 戏剧中的变态人物
作者: 心理空间 / 3327次阅读 时间: 2017年8月06日


If, as has been assumed since the time of Aristotle, the purpose of drama is to arouse ‘terror and pity’ and so ‘to purge the emotions’, we can describe that purpose in rather more detail by saying that it is a question of opening up sources of pleasure or enjoyment in our emotional life, just as, in the case of intellectual activity, joking or fun open up similar sources, many of which that activity had made inaccessible. In this connection the prime factor is unquestionably the process of getting rid of one’s own emotions by ‘blowing off steam’; and the consequent enjoyment corresponds on the one hand to the relief produced by a thorough discharge and on the other hand, no doubt, to an accompanying sexual excitation; for the latter, as we may suppose, appears as a by-product whenever an affect is aroused, and gives people the sense, which they so much desire, of a raising of the potential of their psychical state. Being present as an interested spectator at a spectacle or play does for adults what play does for children, whose hesitant hopes of being able to do what grown-up people do are in that way gratified. The spectator is a person who experiences too little, who feels that he is a ‘poor wretch to whom nothing of importance can happen’, who has long been obliged to damp down, or rather displace, his ambition to stand in his own person at the hub of world affairs; he longs to feel and to act and to arrange things according to his desires - in short, to be a hero. And the playwright and actor enable him to do this by allowing him to identify himself with a hero. They spare him something, too. For the spectator knows quite well that actual heroic conduct such as this would be impossible for him without pains and sufferings and acute fears, which would almost cancel out the enjoyment. He knows, moreover, that he has only one life and that he might perhaps perish even in a single such struggle against adversity. Accordingly, his enjoyment is based on an illusion; that is to say, his suffering is mitigated by the certainty that, firstly, it is someone other than himself who is acting and suffering on the stage, and, secondly, that after all it is only a game, which can threaten no damage to his personal security. In these circumstances he can allow himself to enjoy being a ‘great man’, to give way without a qualm to such suppressed impulses as a craving for freedom in religious, political, social and sexual matters, and to ‘blow off steam’ in every direction in the various grand scenes that form part of the life represented on the stage.

Several other forms of creative writing, however, are equally subject to these same preconditions for enjoyment. Lyric poetry serves the purpose, more than anything, of giving vent to intense feelings of many sorts - just as was at one time the case with dancing. Epic poetry aims chiefly at making it possible to feel the enjoyment of a great heroic character in his hour of triumph. But drama seeks to explore emotional possibilities more deeply and to give an enjoyable shape even to forebodings of misfortune; for this reason it depicts the hero in his struggles, or rather (with masochistic satisfaction) in defeat. This relation to suffering and misfortune might be taken as characteristic of drama, whether, as happens in serious plays, it is only concern that is aroused, and afterwards allayed, or whether, as happens in tragedies, the suffering is actually realized. The fact that drama originated out of sacrificial rites (cf. the goat and the scapegoat) in the cult of the gods cannot be unrelated to this meaning of drama. It appeases, as it were, a rising rebellion against the divine regulation of the universe, which is responsible for the existence of suffering. Heroes are first and foremost rebels against God or against something divine; and pleasure is derived, as it seems, from the affliction of a weaker being in the face of divine might - a pleasure due to masochistic satisfaction as well as to direct enjoyment of a character whose greatness is insisted upon in spite of everything. Here we have a mood like that of Prometheus, but alloyed with a paltry readiness to let oneself be soothed for the moment by a temporary satisfaction.

Suffering of every kind is thus the subject-matter of drama, and from this suffering it promises to give the audience pleasure. Thus we arrive at a first precondition of this form of art: that it should not cause suffering to the audience, that it should know how to compensate, by means of the possible satisfactions involved, for the sympathetic suffering which is aroused. (Modern writers have particularly often failed to obey this rule.) But the suffering represented is soon restricted to mental suffering; for no one wants physical suffering who knows how quickly all mental enjoyment is brought to an end by the changes in somatic feeling that physical suffering brings about. If we are sick we have one wish only: to be well again and to be quit of our present state. We call for the doctor and medicine, and for the removal of the inhibition on the play of phantasy which has pampered us into deriving enjoyment even from our own sufferings. If a spectator puts himself in the place of someone who is physically ill he finds himself without any capacity for enjoyment or psychical activity. Consequently a person who is physically ill can only figure on the stage as a piece of stage property and not as a hero, unless, indeed, some peculiar physical aspects of his illness make psychical activity possible - such, for instance, as the sick man’s forlorn state in the Philoctetes or the hopelessness of the sufferers in the class of plays that centre round consumptives.

People are acquainted with mental suffering principally in connection with the circumstances in which it is acquired; accordingly, dramas dealing with it require some event out of which the illness shall arise and they open with an exposition of this event. It is only an apparent exception that some plays, such as the Ajax and the Philoctetes, introduce the mental illness as already fully established; for in Greek tragedies, owing to the familiarity of the material, the curtain rises, as one might say, in the middle of the play. It is easy to give an exhaustive account of the preconditions governing an event of the kind that is here in question. It must be an event involving conflict and it must include an effort of will together with resistance. This precondition found its first and grandest fulfilment in a struggle against divinity. I have already said that a tragedy of this kind is one of rebellion, in which the dramatist and the audience take the side of the rebel. The less belief there comes to be in divinity, the more important becomes the human regulation of affairs; and it is this which, with increasing insight, comes to be held responsible for suffering. Thus the hero’s next struggle is against human society, and here we have the class of social tragedies. Yet another fulfilment of the necessary precondition is to be found in a struggle between individual men. Such are tragedies of character, which exhibit all the excitement of an ‘agon’, and which are best played out between outstanding characters who have freed themselves from the bond of human institutions - which, in fact, must have two heroes. Fusions between these two last classes, with a hero struggling against institutions embodied in powerful characters, are of course admissible without question. Pure tragedies of character lack the rebellious source of enjoyment, but this emerges once again no less forcibly in social dramas (in Ibsen for instance) than it did in the historical plays of the Greek classical tragedians.

Thus religious drama, social drama and drama of character differ essentially in the terrain on which the action that leads to the suffering is fought out. And we can now follow the course of drama on to yet another terrain, where it becomes psychological drama. Here the struggle that causes the suffering is fought out in the hero’s mind itself - a struggle between different impulses, and one which must have its end in the extinction, not of the hero, but of one of his impulses; it must end, that is to say, in a renunciation. Combinations of any kind between this precondition and the earlier types are, of course, possible; thus institutions, for instance, can themselves be the cause of internal conflicts. And this is where we have tragedies of love; for the suppression of love by social culture, by human conventions, or the struggle between ‘love and duty’, which is so familiar to us in opera, are the starting-point of almost endless varieties of situations of conflict: just as endless, in fact, as the erotic day-dreams of men.

But the series of possibilities grows wider; and psychological drama turns into psychopathological drama when the source of the suffering in which we take part and from which we are meant to derive pleasure is no longer a conflict between two almost equally conscious impulses but between a conscious impulse and a repressed one. Here the precondition of enjoyment is that the spectator should himself be a neurotic, for it is only such people who can derive pleasure instead of simple aversion from the revelation and the more or less conscious recognition of a repressed impulse. In anyone who is not neurotic this recognition will meet only with aversion and will call up a readiness to repeat the act of repression which has earlier been successfully brought to bear on the impulse: for in such people a single expenditure of repression has been enough to hold the repressed impulse completely in check. But in neurotics the repression is on the brink of failing; it is unstable and needs a constant renewal of expenditure, and this expenditure is spared if recognition of the impulse is brought about. Thus it is only in neurotics that a struggle can occur of a kind which can be made the subject of a drama; but even in them the dramatist will provoke not merely an enjoyment of the liberation but a resistance to it as well.

The first of these modern dramas is Hamlet. It has as its subject the way in which a man who has so far been normal becomes neurotic owing to the peculiar nature of the task by which he is faced, a man, that is, in whom an impulse that has hitherto been successfully suppressed endeavours to make its way into action. Hamlet is distinguished by three characteristics which seem important in connection with our present discussion. (1) The hero is not psychopathic, but only becomes psychopathic in the course of the action of the play. (2) The repressed impulse is one of those which are similarly repressed in all of us, and the repression of which is part and parcel of the foundations of our personal evolution. It is this repression which is shaken up by the situation in the play. As a result of these two characteristics it is easy for us to recognize ourselves in the hero: we are susceptible to the same conflict as he is, since ‘a person who does not lose his reason under certain conditions can have no reason to lose’. (3) It appears as a necessary precondition of this form of art that the impulse that is struggling into consciousness, however clearly it is recognizable, is never given a definite name; so that in the spectator too the process is carried through with his attention averted, and he is in the grip of his emotions instead of taking stock of what is happening. A certain amount of resistance is no doubt saved in this way, just as, in an analytic treatment, we find derivatives of the repressed material reaching consciousness, owing to a lower resistance, while the repressed material itself is unable to do so. After all, the conflict in Hamlet is so effectively concealed that it was left to me to unearth it.

It may be in consequence of disregarding these three preconditions that so many other psychopathic characters are as unserviceable on the stage as they are in real life. For the victim of a neurosis is someone into whose conflict we can gain no insight if we first meet it in a fully established state. But, per contra, if we recognize the conflict, we forget that he is a sick man, just as, if he himself recognizes it, he ceases to be ill. It would seem to be the dramatist’s business to induce the same illness in us; and this can best be achieved if we are made to follow the development of the illness along with the sufferer. This will be especially necessary where the repression does not already exist in us but has first to be set up; and this represents a step further than Hamlet in the use of neurosis on the stage. If we are faced by an unfamiliar and fully established neurosis, we shall be inclined to send for the doctor (just as we do in real life) and pronounce the character inadmissible to the stage.

This last mistake seems to occur in Bahr’s Die Andere, apart from a second one which is implicit in the problem presented in the play - namely, that it is impossible for us to put ourselves with conviction into the position of believing that one particular person has a prescriptive right to give the girl complete satisfaction. So that her case cannot become ours. Moreover, there remains a third mistake: namely that there is nothing left for us to discover and that our entire resistance is mobilized against this predetermined condition of love which is so unacceptable to us. Of the three formal preconditions that I have been discussing, the most important seems to be that of the diversion of attention.

In general, it may perhaps be said that the neurotic instability of the public and the dramatist’s skill in avoiding resistances and offering fore-pleasures can alone determine the limits set upon the employment of abnormal characters on the stage.3


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