....................................淡水夜市 / Joe
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* * * 放風箏 * * *
該收回
飄泊的衣衫
收回風和搖盪
像收回風箏
收回
迷途的心
是啊，這繃緊的張力
自然和自我的拉扯
才是生命之源
終究，不能
完全收下高颺的
風箏和心
當作紀念的標本
永遠玩著收和放的遊戲 *
── Joe
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* 意外地聯想到弗洛伊德精神分析中，論及他孫子玩的扔線軸遊戲 ( Fort-da game )。
In "Beyond the Pleasure Principle"
(Standard Edition, Vol. 18, pp. 14-15),
Freud wrote:
This good little boy, however, had an occasional disturbing habit of taking any small objects he could get hold of and throwing them away from him into a corner, under the bed, and so on, so that hunting for his toys and picking them up was often quite a business. As he did this he gave vent to a loud, long-drawn-out "o-o-o-o," accompanied by an expression of interest and satisfaction. His mother and the writer of the present account were agreed in thinking that this was not a mere interjection but represented the German word "fort'" [gone]. I eventually realized that it was a game and that the only use he made of any of his toys was to play "gone" with them. One day I made an observation which confirmed my view. The child had a wooden reel with a piece of string tied around it. It never occurred to him to pull it along the floor behind him, for instance, and play at its being a carriage. What he did was to hold the reel by the string and very skillfully throw it over the edge of his curtained cot, so that it disappeared into it, at the same time uttering his expressive "o-o-o-o." He then pulled the reel again by the string and hailed its reappearance with a joyful "da" [there]. This, then, was the complete gameódisappearance and return. As a rule one only witnessed its first act, which was repeated untiringly as a game in itself, though there is no doubt that the greater pleasure was attached to the second act. The interpretation of the game then became obvious. It was related to the child's great cultural achievementóthe instinctual renunciation (that is, the renunciation of instinctual satisfaction) which he had made in allowing his mother to go away without protesting.
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In Beyond the Pleasure Principle (1920), Sigmund Freud relates the story of a game his grandson invented at the age of one and a half, before he could speak many words. He used to throw small objects away from him, then say "o-o-o-o" with pleasure. He also took a wooden reel attached to a piece of string, and threw it over the edge of his cot, so that it disappeared. After saying "o-o-o-o," he would pull it back to himself and say, "da." He repeated this game over and over. Freud and the boy’s mother understood him to be saying "Fort" and "Da" (German for gone and there).
Freud theorized that this game of disappearance and return allowed the boy to manage his anxiety about the absences of his mother, to whom he was very attached. By controlling the actual presence and absence of an object, he was able to manage the virtual presence of his mother. The Fort / Da game was the child’s invention of symbolism: the use of one object (wooden reel) to represent another, absent object (mother).
In human psychological development, symbolism coincides with the emergence of language, or the child’s entry into the field of culturally symbolic sounds and words. Language is one way we give presence to (or re-present) people, ideas, events, and feelings. It’s how we recover the past, or make what is gone, there.
Freud's grandson was not merely re-presenting his mother as a symbolic object. More importantly, he was representing a relationship (with mother) and coming to terms with a concept (mother can be gone yet still there, in memory and play).
──── D. Willbern (1999)
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** 從佛家來言，哪有那個「心」。二祖說：我心不安。達摩說：你拿心來我幫你安。二祖說：遍尋心不著。達摩說：我幫你安心畢。(大意)
禪宗又有一公案說：過去心不可得，現在心不可得，未來心不可得。
哪有那個或這個所謂的「心」呢？
......................淡水夜市 /Joe
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