Chapter 12 Chapter 9 Dreams, Terror and Idolatry (Part 2)

Chapter 9 Dreams, Terror and Idolatry (Part 2) Women are scary as mothers.In her maternal state, she is necessarily physically deformed and enslaved.The virginity of the Virgin Mary has above all a negative value: the virgin body is no longer carnal because it is exonerated, it has not been touched or possessed.Likewise, the Great Mother of Asia should have no husband: she made the world, she rules it firmly; she may do as she pleases, but her motherly majesty is not diminished by the servitude of her wife.The Virgin Mary also did not understand sexual filth.Like Minerva, she is also an ivory tower and sanctuary, the keep of a fortified castle.Like most Christian saints, the priestesses of antiquity were virgins: women consecrated to the good, to be consecrated in the splendor of their physical strength intact, to preserve their feminine nature in unconquered integrity.If the Virgin Mary does not have the status of a consort at all, it is to better enhance her status as a woman-mother.But she can only be praised if she accepts her subordinate role. "I am a servant of God".For the first time in human history, she knelt down before her son and accepted her inferior status with indifference.This is the greatest victory for men.This victory was accomplished in the adoration of the Virgin Mary - the restoration of her honor by the woman's final defeat.Ishtar, Acitarte, and Sebile are cruel, capricious, lustful, and possess magical powers.They wield the power of life and death, and when they give birth to men, they make them slaves.In Christianity, life and death depend only on God, and once man leaves the womb, he is rid of that body forever, and the earth is just waiting to bury his bones.Where the mother's magic is abolished, the destiny that rules him is over, so baptism makes the rites of throwing the placenta into fire or water seem ludicrous.Where there is no longer magic anywhere in the world: only God is king.Nature was at first injurious, and then, by grace, was rendered incapable of harm.Maternity, as a natural phenomenon, has no powers.Therefore, if a woman wants to overcome her inherent defects, she must submit to God's will and be subordinate to man.Through this obedience, she can assume a new role in the masculine myth.Now that she has been knocked down, since she will be trampled on as long as she wants to dominate, as long as she doesn't explicitly abdicate, then she can be allowed to enjoy the honor of a servant.Nothing of her original quality is lost, but as a symbol it is reversed: what had been a bad omen is now auspicious; the magic of evil becomes the magic of good.As servants, women are revered as the greatest gods.

Since a woman is regarded as a mother, she must first be loved and respected as a mother.Of the two ancient faces of motherhood, men today wish to know only the genial and attractive side.Man is limited by time and space, he has only one body, he has only one finite life, he is nothing but a solitary individual between nature and history, neither of which has anything to do with him.Woman too is conditioned, and like man she has a spirit; but she also belongs to nature, and through her flows the stream of life.So, she seems to be a mediator between the individual and the universe.Now that the mother is a reassuring saint, it is natural for the man to love her instead.Lost in nature, he wants to escape, but once separated from her, he wants to go back.The mother is firmly anchored in the family, in society, obeys laws and customs, and is therefore indeed the incarnation of goodness: she belongs partly to nature, but nature has become good, and is no longer the enemy of spirit.If she had a mystery, it was an amiable mystery, like that of Leonardo da Vinci's Madonna.A man does not wish to be a woman, but he dreams of being able to encompass all existence, and thus this woman who is different from him.He was adoring his mother, trying to possess her strange wealth.To admit that he is his mother's son is to acknowledge his mother from the heart.It is oneness with the female insofar as the female is connected to the earth, to life, to the past.

In the book "In Sicily" written by Vittorini, what the protagonist seeks when he visits his mother is his homeland, the fragrance and fruit of the homeland, his childhood, the memory of his ancestors, the Tradition, the root of his personal life from which he was cut off.It is this deep root that makes men feel proud of their own transcendence.It made him happy to see, with admiration, how he had broken free from his mother's arms and was going on for adventure, for the future and for the war.This separation, if left unattended, would be less moving, and would seem more like an accident than a hard-won victory.And, he's also happy to know that his mother's arms are always ready to welcome him back.After the tense battle, the protagonist wants to enjoy the inner peace again with his mother: she is the refuge, the silence; when she touches him with her hand, he falls into the embrace of nature again, and he lets himself be surrounded by the flow of life. To rush forward silently, as in the womb or the tomb.If it is said that tradition made him die to visit his mother, it is because, in the face of motherhood, even death is domesticated, consistent with life, and closely related to all physical life.

As in the ancient Parchaian myth, the mother is still associated with death, that is to say, she buries the dead and mourns their death.But her role is also to unite death with life, death with society and public welfare.So the cult of the "hero mother" is deliberately encouraged: if society can persuade mothers to let their sons die, it thinks it has the right to kill them.As the mother has influence over the son, it is good for society to control the mother: that is why the mother is laden with honor, she is endowed with all the virtues, and she has a special relation to the birth of religion—and therefore it is not permissible to depart from it and risk the world. Sins of sanctification and blasphemy—causes.She is the guardian of morality, the servant of men, and the servant of magic, if it exists.So she will lovingly guide her children in the established way.The firmer a society is in its optimism, the more tame is its obedience to this tender authority, the more glorified is the mother.Philip Wyie, in The Serpent's Descendant, portrays the American "mother" as an icon because of the optimism of America's official ideology.To praise the mother is to acknowledge that birth, life, and death have both animal and human social forms, and to proclaim the harmony of nature and society.Since Auguste Comte dreamed of this synthesis, he made woman a figure to be admired by future human beings.But these ideas turn all revolutionaries against the image of the mother.They scorned her and refused to accept what they tried to impose on them through their mother, the guardian of laws and customs.

The respect that honors the mother, the prohibitions that surround her, repress the hostile resentment that is naturally warmed to the carnal sensibility she arouses.Yet a certain underlying fear of motherhood remains.It is especially worth mentioning that, since the Middle Ages, there has always been a lesser myth that can express this disgust freely: this is the myth of the mother-in-law.From allegory to vaudeville, man expresses his contempt for motherhood through his wife's mother, who is not protected by any taboo.He did not like to think that the woman he loved had been born: his mother-in-law was a clear reflection of old age, and she exposed her to old age when she gave birth to her daughter.Her fatness and her wrinkles are a reminder that fatness and wrinkles can also appear in young brides, thus sadly predicting the bride's future.She seems no longer an individual next to her mother, but a stage of the species; she is no longer a desired prey, a loved companion, for her individual and separate existence is merged into the general life.Her individuality is overwhelmed by the universal, her spiritual autonomy ludicrously robbed of her existence rooted in the past and in the flesh: this is how man makes a mockery of the eccentric's object existence.But if his sneers were full of rancour, it was because he knew perfectly well that his wife's fate was everyone's fate, as well as his.Stories and legends from various countries make the stepmother the embodiment of the cruel side of motherhood.It was the stepmother who killed Snow White.In the evil figure of the stepmother, there is always the shadow of Carrie wearing a chain of skulls, such as Madame Physine in Madame de Ségur's (J. That's the case with the Philippines.

But after the sainted mother, followed by a group of good maidens who offered herbal juices and star emanations to men: grandmothers, old women with kind eyes, good-hearted maids, benevolent The nun with all the sisters, the nurse with a pair of extremely gentle hands, the lover in Wei Lun's dream: You are sweet, brooding, surprised at nothing, People kiss your forehead like a child.Some say they are as mysterious as crooked vines and fresh water; they bind and heal wounds; their wisdom is the silent wisdom of life, and they are self-taught.In their presence a man forgets his self-respect; he experiences the sweetness of meekness and childlikeness again, because with these women he does not have to struggle for prestige: he does not envy the inhuman magic that nature possesses; He follows his wise beginners, acknowledging, in consecrating himself, that they are in fact his servants; he submits to their benevolent power, knowing that, in spite of his obedience, he is still their master.Sisters, childhood friends, innocent maidens, all future mothers are among this group of benefactors.And his wife herself, once her sexual magic had worn off, would be seen by many as the mother of their children rather than the lover.Since the mother had been both a god and a slave before, she need not be considered a companion, for she was now both a god and a slave.To restore honor to the mother is to restore honor to the body and therefore to the physical union and the wife.

Deprived of her magic weapon by the wedding, she is economically and socially dependent on her husband, so the "good wife" is a man's most precious possession.She belonged to him so thoroughly that she had the same essence as him.She bears his surname, believes in his god, and he is responsible for her.He called her his "wife."He was as proud of his wife as he was of his house, land, and sheep, sometimes even more.Through her he manifests his power before the world: she is his measure, his earthly destiny.In the Oriental view, a woman should be plump so that people can see that she is well nourished and that she can honor her husband.The more wives a Muslim has, and the prettier he adorns them, the more highly regarded he is.One of the functions a woman must perform in bourgeois society is to be graceful: her beauty, charm, intellect, and elegance are as visible outward signs of her husband's wealth as his custom-made car bodywork.If he was rich, he would adorn her with furs and jewels; if not, he would boast of her virtues and housekeeping.And the poorest man, if he gets a woman who can serve him, thinks he has a fortune after all: the hero in "The Taming of the Shrew" calls all his neighbors to see how authoritatively he can subdue his wife.Every man is, in some way, reminiscent of king Candaules: he exposed his wife in public, thinking that by doing so he would flaunt his good qualities.

But a woman not only satisfies a man's social vanity, she is also the source of a deeper self-esteem.He takes pleasure in dominating her.Besides the realistic symbols of plowing bells and furrows, woman, if she is still a human being, has a more divine symbol: the husband "makes" his wife not only sexually but morally and intellectually.He educated her, marked her, put his stamp on her.One of the daydreams a man loves to have is to saturate things with his will—to shape their form, to penetrate their essence.And women are especially "the clay in his hands", this piece of clay is passive, let him process, let him shape.She rebels in submission, making possible the infinite development of male initiative.A very malleable substance, the working and handling of it is done quickly, because the work is done with ease.But what’s also great about a woman is that there’s something about her that somehow eludes every embrace.Man then becomes the master of a reality that is more worth harnessing because it constantly eludes control.

The woman awakens in the man a stranger whom he proudly admits is himself.In the blameless orgy of marriage he discovers the greatness of his own animal nature: he is male.He also discovered that women are females, but the word is now full of admiration: a female animal who cares for her children, nurses them, caresses them, protects them, risks her life to save them. They -- this female is a paragon of humanity.This endurance, this devotion, is what a man passionately demands from his partner.She is still Nature, but imbued with all the virtues that are useful to society, to the family, to the head of the household, and he knows how to bring them into the home.Men and children share a desire to reveal the secrets hidden in things; from this point of view things are deceptive.Once the rag doll is torn apart, its inside will be exposed to the outside, and it will no longer have any spirituality.The inner nature of living things is even more elusive.The female belly, a symbol of immanence and death, certainly reveals some of its secrets, as in the happy expression on a woman's face, but it also conceals them.The mystery is not destroyed by possession when the man lures this faintly quivering being into his home.Women have brought the function of the female animal into the human world.She perpetuates life and rules the realm of immanence; she brings the warmth and intimacy of the womb into the home;She gave birth to the next generation and raised children.Thanks to her, man is able to regroup in her interiority the existence scattered by work and activity in the external world: when he returns home at night, he is at last anchored again.The continuity of his day-to-day work is ensured by his wife; she makes sure that he is fed and slept well, no matter what surprises he encounters in the outside world.She restored whatever was broken or worn out, she cooked for the weary worker, she nursed him when he was sick, she mended, she washed.She brought the whole wide world into the world of marriage she established and maintained: she lit the fire, planted flowers around the house, domesticated matter from the sun and the earth.A bourgeois writer, whom Bebel cited, summed up this ideal earnestly: "What a man desires is a person who not only worries about him alone, but also smoothes the pain on his forehead." Wrinkles, which bring peace, order, and stability; when he comes home each day, she can gently regulate his emotions and control what he gets; Aroma, with the exuberant warmth of life."

After the emergence of Christianity, the image of women has been obviously spiritualized to a large extent.The beauty, warmth, and intimacy that men want from women no longer have a physical quality.Instead of epitomizing the immediately playable nature of things, she becomes their soul.The hidden pure existence in her heart is more inscrutable than the mystery of the body, and it reflects the true face of the world.She is the soul of the house, the whole family and the home.She is also the soul of larger groups such as cities, countries and nations.Cities, says Jung, are always compared to mothers because they include citizens: thus Sebili is depicted wearing a tower-like crown.Likewise people speak of "motherland" (mothercoulltw), but this refers not only to the land in which they were raised, but also to a more subtle reality symbolized by women.In the Old Testament and Revelation, Jerusalem and Babylon are not just mothers: they are also wives.Some cities are virgins, others are prostitutes, such as Babel and Tyre.So France is called "the eldest daughter of the church"; France and Italy are Latin sisters.In the statues representing France, Rome, and Germany, and in those at the Place de la Concorde that personify Strasbourg and Lyon, it is not a woman's function but her femininity that is shown.The metaphor of comparing these places to women is not entirely symbolic and is deeply felt by many men.It is in women that the tourist finds the key to the country he visits: when he embraces an Italian or Spanish woman, he seems to feel that he possesses the fragrant essence of Italy or Spain.A reporter said: "Whenever I come to a new city, I always go to the brothel first." If a piece of brown chocolate can reveal the whole of Spain to Gide, then an exotic kiss is the most important thing. You can even tell your lover the whole country, with its animals and plants, its traditions and culture.Although a woman is not a generalization of political systems or economic power, she is the embodiment of their material core and their mysterious supernatural power.From Lamartine's "Grazila" to Pierre Loti's novels and Morand's stories, we can see strangers trying to grasp the soul of a place through women.Mignon, Silvia, Mireil, Colomba and Cannan reveal the deepest realities of Italy, Valais, Provence, Corsica and Andalusia.In the eyes of the Germans, Goethe won the love of Alsatian Friederica and was a symbol of Germany's annexation of Alsace.On the other hand, Colette Boduk's refusal to marry a German meant that Alsace had repulsed Germany, according to Barrett.He uses the little figure of Benice to symbolize the whole of Vingmerte and a subtle and sensitive civilization; and she symbolizes the sensitivity of the writer himself.She is the soul of nature, the city, and all mankind, and in her also man finds his mystical phantom; the soul of man is PsyChe, a woman.In Poe's Uralum, Psyche has feminine qualities:

Once, me and my soul Strolling through the cypress-grown Titan's path-- And Psyche, my soul... I caress and kiss Psyche... I said, "Dear sister, at the entrance of the said tomb, What can be left? " And Mallarme, in a dramatic dialogue with "a soul, or rather our idea of ​​a soul" (the divinity of the human spirit), calls the soul "a very elegant and perverse lady" (sic).Christendom substituted less bodily beings for women and banshees, but homes, landscapes, cities, and individuals themselves were still haunted by an imperceptible femininity. This truth, hidden in the night of things, also radiates in heaven; the soul is entirely immanent, but it is also transcendence, the Idea.Cities and nations have not only feminine qualities, but also abstract essences, such as institutions: the Christian Church, Judaism, the Republic, and humanity are all women, as are peace, war, liberty, and victory.Man feminizes the ideal that stands before him as the essential Other, because woman is the tangible symbol of otherness.This is why almost all tropes, whether in language or in painting, are women.Woman is soul and ideas, but she is also their mediator: she is divine grace, who leads Christians to God; she is Beatrice who guided Dante in hell, who inspired Petrarch to poetry Laura of the pinnacle.Of all the doctrines that unite nature and spirit, she seems to be harmony, reason, and truth.The Gnostics turned Solomon's wisdom into a woman - Sophie, and believed that she had the ability to save and even create the world.So we see that woman is no longer a body, but a noumenon approved by others; she is no longer possessed by others, but radiates intact brilliance, and thus is respected by people.The pale dead in the painting are like running water, like the wind and the passing memory.With the advent of chivalry and ladies, and with the tradition of courting women, woman is no longer an animal, but rather a ghost, a scent, a ray of light.Thus, the turbidity of women's night becomes transparent, and evil tends to become chaste. The woman's downward function is reversed, she no longer bows the man to the earth, but leads him to heaven.Goethe declares at the end of Faust: Eternal Feminine, call us upward. The Virgin Mary, personified as a woman reborn and dedicated to the good, was known and universally respected.It is interesting to see how literature and painting represent her.Here are a few excerpts from the prayers that zealous Christians offered her in the Middle Ages: …O Most High Mother, You are the dew of nourishment, the fountain of joy, the channel of mercy, the well of living waters that cool our passions.You are the milk that God gave to the orphans...you are the essence, the insignificant part, the core of all good things, you are the woman who is right, your love is always inseparable...you are the doctor who rejuvenates, not Salerno or Montpi Lie can't compare... you are a lady, you have a pair of hands that can heal...can make the paralyzed walk, can bring the dead back to life. In these prayers we again find most of the aforementioned femininity.The Virgin Mary is fertility.Fountain of dew and life.Many statues depict her at the well, at the source and at the edge of the spring water, and "fountain of life" is the most widely used phrase.She is not creative, but she bears abundant fruit, and what she hides underground leaps into the light of day.She is the deep reality hidden beneath the surface of things, the core and the essence.Through her desire is fulfilled: she is given to man in order that he may be fulfilled.She heals, saves, and strengthens; she is the intermediary between man and life; and life comes from God, so she is also the intermediary between man and God.Tertullian called her "the devil's gate", but after beautification she became the gate to heaven.We see her in paintings opening the doors and windows of heaven, or erecting ladders between heaven and earth.She appears more directly as Advocate, pleading for man before her Son; she bares her breasts and pleads with Christ as a glorious mother on God's Last Judgment Day.She protects the children, and her great compassion enables men to survive every danger at sea and on the battlefield.She manipulates divine justice, lovingly pressing the scales that weigh the worth of souls to the side of fraternity. Of all the roles assigned to woman, this role of mercy and tenderness is the most important.Even when fully integrated into society, woman subtly extends her boundaries because she is secretly magnanimous to life.Indeed, the gulf between man's planned work and natural chance sometimes seems disturbing, but when woman (who is too submissive to pose a threat to man's work) ) is only going to flesh out these jobs and soften overly rigid ways of working, which again is beneficial.The male gods represent destiny, while in the goddesses one finds an imperious benevolence and capricious grace.The Christian God is full of the majesty of justice, and the Virgin Mary is full of loving tenderness.In a world where man is the defender of law, reason, and necessity, woman is aware of the inherent contingency of man himself and of the necessity he believes in; therefore, she cannot refrain from mystical irony and a kind of suppleness. of generosity.She healed a man's wounds, nursed babies, buried the dead; she knew exactly what would hurt his pride, what would humiliate his waywardness.When she bowed before him, belittling the flesh and advocating the spirit, she remained on the edge of the spirited flesh.As I said, she smoothed out the harsh edges of men's buildings, endowing them with unexpected luxury and elegance.Woman's power over men comes from the fact that she gently reminds them of their true status in moderation; this is the secret of her disillusioned, pathetic, ironic, loving wisdom.Even frivolity, self-will, and ignorance are fascinating virtues in women, because they adorn a side that is at once of this world and not of this world, whereas a man, though he decides to live here, does not want to feel limited.In contrast to assigned meanings and tools made for practical purposes, she insists on the mystery of the untouched.She makes the city streets and cultivated land rippling with the breath of poetry.Poetry should capture something other than the humdrum everyday life.Woman is a poetic reality, for in her man sees all that he is determined not to be.She is the incarnation of a dream that is both familiar and alien to man: what he does not wish or do not do, what he yearns for but cannot attain; She will give the dream her character.So Aurelia visited Navarre in a dream, and gave him the whole world in her dream: "She began to grow in the bright sunshine, and little by little she took the garden into her shape, the flowerbeds and The trees became roses and ribbons on her dress; and her face and arms imprinted their shapes on the reddened clouds in the sky. I could not see her as she changed, for she grew larger Time seemed to disappear. 'Oh, don't fly away from me!' I cried; 'for nature will disappear with you.'' Since woman is the subject of a man's poetry, it is not surprising that she should be his inspiration: the Muses are women.The Muse stands between the Creator and the fountain of nature from which he should draw.The spirit of woman lies deep in nature, and through her he will penetrate the depths of the silent and fertile night.The Muse itself creates nothing.She is a calm, intelligent Sybyl, docile at the service of her master.Even in specific areas of practice her advice is useful.Men always like to achieve their own goals alone, because the help of others is often embarrassing.But he also believes that a woman's opinion has another value meaning, a kind of wisdom belonging to her own instinct, which is almost consistent with reality.When a man may inquire about his destiny, he always looks to her "gut feeling".This "gut feeling" was even injected into business and politics: Aspasini and Madame de Manteil would have successful careers even today. Another duty men readily entrust to woman is that of weight of value, and she is a privileged judge.A man dreams of the Other, not only to possess her, but to gain her approval.He must be constantly on edge to gain the approval of other men—his colleagues—so he hopes that external attention will give his life, his career, and himself an absolute value.God's concern is mystical, alien, disturbing, and even in the Age of Faith only a few mystics aspire to it.This sacred role is often performed by women.She is the other, so she is outside the man's world and can observe the world objectively.And she has a close relationship with the man, so she doesn't establish values ​​that go against his nature.On each particular occasion, she alone can report whether there is courage, strength, and beauty, and can testify to the outside world of their general value.Playing each other a kind of spectator role, the men get too deep in their cooperative-competitive relationship.Woman stands outside this conflict: her whole situation condemns her to the role of a spectator.Knights joust for their mistresses, poets seek a woman's approval.When Rashgnac planned the conquest of Paris, he first intended to have women, not so much to possess them physically as to enjoy the reputation that only they could bestow on a man.Through those young protagonists, Balzac vividly expressed his own youth experience: he began to educate and shape himself in the company of his older mistresses, and women were not only in his "Valley". "Lily" only plays the role of this kind of educator.Women are also assigned this role in Flaubert's "Education of the Sentiments," in Stendhal's novels, and in other stories about apprenticeships.We have already mentioned that woman is both natural and unnatural: that is to say, she is the embodiment of nature as well as society.As we see in the poems of chivalry, in and Astray, she sums up the civilization and culture of an age.She introduces new fashions, she hosts salons, influences and reflects public opinion.Fame and glory are women; and Mallarme said: "The public is a woman."Young men, accompanied by women, step out into "society," into the complex reality called "life."Women are the special prize destined for the hero, the adventurer, and the rough individualist.In antiquity, we see Luangersius rescue Andromeda, Orpheus go to Hades to find Rhydice, and the Trojans fight to defend the beautiful Helen.Chivalry novels are mostly about heroism like rescuing a captured princess.If the Prince Charming doesn't wake Sleeping Beauty, what does he have?The myth of the king's marriage to the shepherdess delighted both men and women.The rich man needs to give, or his useless wealth is abstract: there must be someone around him who can give.The Cinderella myth—which is treated earnestly in Philip Wylie's "The Descent of the Viper"—is especially prevalent in wealthy countries like the United States.How can men spend their extra money if it is not spent on a woman?Except others.Orson Weiss embodies that regal hypocritical generosity in Citizen Kane: Kane decides to shower an unknown singer with massive gifts, forcing the public to recognize her as a great queen, and using it to give him Add luster to your own power.In France we could name many Citizen Kane-like little men.The protagonist of another film, "At a Glance", returns to India with absolute wisdom, thinking that the only thing he needs to do with this wisdom is to redeem a prostitute. Apparently, men still yearn for female obedience when they dream of themselves as givers, liberators, and saviors; in order to wake Sleeping Beauty, Sleeping Beauty must be asleep;However, the more a man enjoys hard work, the happier he is to be given independence for a woman.Conquest is more desirable than gift or liberation. Therefore, the ideal woman of the average Western man is a woman who is free when he is dominated by him, who does not conform to what others say, but who also submits to his arguments;The stronger his self-esteem, the more dangerous he was willing to take the risk: the conquest of Penthesilea was more spectacular than the marriage of submissive Cinderella.Nietzsche said: A warrior loves danger and sport.That's why he loves women - the most dangerous of all sports. "A man who likes danger and sports, if he hopes to conquer a woman, he does not want to see her become a warrior. What he hopes in his heart is that this struggle is a game for him, but with her Whether a man is a liberator or a conqueror, his real victory consists only in this: the woman's frank recognition that he is her destiny. Thus, the phrase "there is a woman" has a double meaning: her object function and arbiter function are not easily distinguishable.From the moment a woman is regarded as a human being, she cannot be conquered except with her consent, but can only be persuaded.The smile of Sleeping Beauty crowns the efforts of the charming prince, and the joyful and grateful tears of the captive princess prove the valor of the knight.On the other hand, her speculative gaze is not as cold and severe as the male's speculative gaze, which is easily affected by charm.所以英雄主义和诗歌是诱惑的样式，但女人在自已被吸引时，也美化了英雄主义和诗歌。从个人主义者的角度来看，她又成为有特权的主要者；在他看来，她不是举世公认的价值的尺度，而是他的特长和他的存在（being）的展示。一个男人的同伴在评价他时，所依据的是他所扮演的角色，这种评价既是客观的，也是涉及到公认的标准的。但是，他的有些特性，其中包括他充满活力的特性，却只有女人才会感兴趣。唯有在涉及到她时，他才是雄赳赳的、有滋力的。诱人的、温柔的、残忍的。若要赋予这些较为神秘的特性以重要的价值，他就绝对需要她的存在。通过她，他将经历一个奇迹：在他自己看来，他仿佛成了另一个人，而这另一个人又是他最彻底的自我。马尔罗有一段话极其生动地表现了个人主义者对于他所爱的女人的期望。乔问他自己：“'我们用自己的耳朵去听别人的声音，用自己的喉咙去听自己的声音。'这很对。但人们也是用他们的喉咙听自己生命的声音——听别人生命的声音的吗卜…··在别人看来，我是我扮演的那种人……但唯独在梅面前，他才不是他所扮演的那种人；而且，唯独在他面前，她才是和原来的她完全不同的人。拥抱时，爱使俩人联为一体，抵消了孤独感，不过拥抱并未给男人带来宽慰。对于疯子，对于无比残忍的人，宽慰是最为珍贵的，每个人对于他自己都是一种宽慰，他把它珍藏在心底。自从他母亲去世以后，只有在梅面前，他才不是乔·吉尔左斯，而是一个亲密的伙伴……男人不是我的伙伴，他们在观察我、评价我；我的伙伴是这样一种人：她们爱我，不观察我；她们爱我时不顾一切，不在乎受到贬低，不在乎下贱，不在乎被出卖；她们爱的是我，而不是我曾经或将要扮演的那个人；只要我爱我自己，她们就会爱我，甚至不惜自杀。” 乔的这种态度之所以是有人情味儿的、令人感动的，是因为它暗示着相互性，他要梅爱本来的他，而不是要讨得一个奉承的反映。在许多男人身上，这一要求退化了：他们不是准确地揭示自己，而是想通过人们的目光发现自己的光辉形象在被人仰慕。感激、奉若神明。女人常被比做水，除了别的理由之外，还因为她是一面镜子。那耳喀索斯之流的男性，用这面镜子仔细端详自己：他诚心诚意地或虚情假意地偏向她。但不管怎样，他实际上是要她成为存在于他之外的、他心里所不能把握的一切，因为这个生存者的本性仅仅是虚无，也是因为他要实现自我就必须通过一个客体看到他自己。既然女人在一种外在于他的、他通过她的肉体可以具有的形式下，是他自己的神化，那么她就是给他的最高报偿。当他紧紧搂住为他所概括了的世界、他把自己的价值与法律强加于其上的那个人时，他是在拥抱这个“怪物”——他本人。在和这个归他所有的他者结合时，他希望实现他自己。女人是财富和猎物，是运动和危险，也是保姆、向导、法官、调解者和镜子，所以她是这样的他者：主体通过她超越他自己而不为其所限，她与他相对立而不予以否定；她也是这样的他者：她让自已被占有而仍不失为是他者。所以，她对男人的幸福和胜利是十分重要的，以至可以说，即使她不存在，男人也要把她发明出来。 他们的确发明了她，但她的存在也和他们的独创性相脱节。所以，她不仅是他们梦想的化身，也是这一梦想的幻灭。女人任何一种象征性形象无不引起相反的形象：她是生与死，大自然与人造物，昼与夜。不论我们认为她具有怎样的外表，总是发现她是这样变来变去，因为次要者必然会重新成为主要者。在圣母玛丽亚和比阿特丽丝（Beatrice）的形象中，夏娃和喀耳刻仍然存在。 克尔他郭尔在浦萄酒中的真理》中写道：“通过女人，理想进入生活。所以，要是没有她，他会如何？许多男人多亏有了某个年轻姑娘才成为天才……但从来没有哪个人因为有了某个答应和他结婚的年轻姑娘才成为天才……” “通过一种消极关系，女人可以使男人具有丰富的想像力…… 与女人保持消极关系可以使我们变得无限……一般来说，同女人保持积极关系会使男人变得有限。”这就是说，只要女人还是一种理念，只要男人通过她能够看到他自己的超越，她就是不可或缺的；但她作为一种客观现实却是不吉利的，她存在于自身并为自身而存在。克尔供郭尔认为，通过拒绝和未婚妻结婚，他建立了唯一有效的同女人的关系。他在某种程度上是正确的：即，把女人树为无限的他者（theinfiniteOther）的神话也会产生它的对立面。 由于女人是一种虚假的无限，一个无真理性的理想，她始终表现为有限与平庸，基于同一理由，她也表现为谬误。在拉福格笔下她就是这样出现的。他的整个作品都在发泄他对神秘的怨恨，他不但因为神秘而责备女人，也因此而责备男人。奥菲丽亚、莎乐美实际上只不过是“小妇人。”哈姆雷特仿佛在想：“奥菲丽亚之所以会爱我，是因为她得到了恩惠，因为我在社会上和道德上比她的女朋友们优越。掌灯时，她也会对舒适安逸发出那些平庸无奇的议论！”女人使男人梦想，可她也想到舒适和晚餐的炖肉。当她只是一个肉体时，人们对她谈及她的灵魂。她的情人盲目地相信自己在追求理想，可实际上他却是自然的玩物，而他利用这种种神秘的目的在于生殖。女人其实是生命的普通外表，她愚蠢，谨慎，吝啬，无聊。 男人成功地奴役了女人，但他也成功地让占有失去了吸引力。随着女人与家庭和社会结为一体，她的魔力不是改变了，而是消失了。她被降到仆人地位，不再是体现自然各种财富的未被征服的猎物。自骑士爱兴起以来，婚姻扼杀爱情就是司空见惯的了。过多的蔑视，过多的尊重，过多的日常琐事，使得妻子不再有性的吸引力。婚礼本来就是用来让男人防范女人的；她成了他的财产。但是，我们占有的一切，反过来也占有了我们，所以，婚姻对于男人也是一种形式的奴役。他落入自然设下的陷阱：由于他渴望得到一个黄花姑娘，就不得不去维持笨重的主妇或干瘪的丑老太婆的生计。用来装饰他的生存的精致珠宝，变成了可恨的负担：冉蒂皮始终是最令男人畏惧的女人典型。如我们所见，她在古希腊和中世纪是许多悲哀的主题。但是，即便是女人年轻，婚姻中也还是有欺骗存在；因为只要人们认为性爱应当社会化，婚姻总会把它给扼杀掉。 事实是，性爱含有瞬息反对时间、个体反对群体的权利要求；它肯定分离，反对沟通，反拨一切法规；它有一种敌视社会的本原。习俗绝不会完全屈从于严厉的制度与法律；爱情总是向它们挑战。在希腊和罗马，爱情以肉欲形式转向年轻男人或高级妓女。骑士爱既是肉欲的也是纯精神的，它总是指向别人的妻子。《特里斯坦》就是一首描写通好的史诗。1800年前后，女人神话又重新出现。这个时期，通奸成为各种文学作品的主题。某些作家，如亨利·贝恩斯坦，竭力捍卫资产阶级制度，拼命把性冲动和爱情重新纳人婚姻的轨道。但在波托一里什的中也有较多的真实性，这部作品表现了两种价值秩序的不相容性。通奸也许只会随着婚姻本身的消失而消失。因为在某种意义上，婚姻的目标是让男人免受他自己的妻子的影响：但其他女人对他却有着强烈的吸引力，于是他将会转向她们。女人也有意介乎于此，因为她们在反抗旨在剥夺她们一切武器的事物秩序。为了把女人从大自然当中分离出来，通过礼仪和契约让她受男人的支配，她被赋予了做人的尊严，被赋予了自由。但自由恰恰意味着避免一切征服。若把自由给予本来拥有有害魔力的人，她就会变成危险人物。由于男人拿不定主意是否要搞折衷，她变得更加危险。他只有在把女人变成仆人，并使她的超越性受挫时，才可以在男性世界上对她予以承认。给予她的自由只有消极用途，她情愿抛弃这种自由。女人只有当了俘虏才是自由的；为了重获她身为自然客体的权力，她放弃了做人的这种特权。她白天昧着良心去扮演顺从仆人的角色，夜里却变成了一只猫或席。她重新裸露出她那冰肌玉肤，或者，骑在扫帚柄上，去参加魔鬼舞会。她的确在对自己的丈夫施展夜间的魔力，但向丈夫隐瞒她的身体变形要聪明一些。她情愿把陌生人当做猎物，因为他们没有任何权利支配她，而她对于他们仍然是草木、泉水、星辰和女巫。所以，她注定是不忠的：这是她的自由所能够采取的唯一形式。她的不忠甚至表现在她的欲望、想法和意识之外。由于她实际上被看做一个客体，她被供给了任何一个愿意占有她的主体。不论是关在闺房里还是藏在面纱下，若说她不会引起某人的欲望，都是大可置疑的。而唤起陌生人的欲望就是击败她的丈夫和社会。但是，进一步来说，她在这种行为中往往是一个心甘情愿的同谋，她只有用欺骗和通好才能证明自己不是任何人的奴隶，并揭露男性自负与虚伪。这就是为什么丈夫的妒忌一触即发的原因。我们在传说中看到，一个女人可以无缘无故地受到怀疑，稍有疑点便遭到谴责，如布拉班特的热内维埃芙和苦丝狄蒙娜。甚至在产生任何怀疑以前，格赖斯尔达就经受了极其严峻的考验。若女人事先并没有什么疑点，这个故事就荒谬了。毫无疑问人们要去证明她的不检点：这是在让她去证实自己的清白无辜。 的确，这是妒忌心无法满足的原因。我们已经看到，占有不可能绝对实现；即便是不许其他一切人来提水，一个人也不可能占有他用来止渴的泉水：他虽然妒忌，却完全明白这一点。女人一般是易变的，如水一般流动；人的任何力量都不可能违抗自然的真理。纵观整个文学作品，从到，我们可以看到女人比男人计胜一筹。而且，他做看守不仅仅是出于个人的意愿：让他——以父亲、兄弟和丈夫的身份——为女人行为负责的是社会。由于经济和宗教方面的原因，她被迫操守贞节，因为每个公民都必须证明他的确是自己父亲的儿子。 但是，迫使女人准确地适应社会所强加于她的角色，也是很重要的。男人的双重要求使女人注定要表里不一：他想让女人属于他，又想让她无关于他；他希望她既是仆人又是妖妇。但在公开场合他只承认第一种要求，第二种要求是不公开的，他把它藏在自己精神与肉体的深处。它与道德和社会背道而驰，是邪恶的，有如他者，有知难以驾驭的大自然，有如“坏女人”。男人并非完全献身于他所树立并声称要实行的善，他与恶保持着可耻的联系。但是，不论惑是否敢忘乎所以他表现它本来的面目，男人都会群起而攻之。在橡胶的夜里，他求女人去造爱，但在光天化日之下，他又否认自己与这一罪率及美丽的罪人有任何关系。而女人，本身在床第秘处是罪人，却唯有在崇拜贞操时才越发热情。正如在原始人当中男性是世俗的，女性是有宗教神秘魔力的，在近代社会，男人行为不检点也不过是一个小小的过失，常常受到宽容。即使男人违犯了社会法律，他也仍旧是社会的一员。他不过是一个印一戏wt讨厌的孩子〕，不会给社会秩序带来多大威胁。一另一方面，若是女人逃避了社会惯例，她就会重返大自然，再度变成恶魔，在群体之中释放出无法驾驭的邪恶力量。恐惧始终和对女人放荡行为的指责混在一起。如果丈夫未能让妻子保持贞操，他就要分担她的过失。从社会角度来看，他的不幸是对于他的名誉的一种污损。有些文明非常苛刻，要他杀死不道德的妻子，以同她的罪过划清界线。在其他文明，讨好的丈夫受到嘲弄和惩罚，人们让他赤条条地骑着公驴游街示众。社会还会在丈夫的住处严惩这个有罪的人：她冒犯的不仅仅是他，还有整个集体。这些习俗在迷信的、神秘的西班牙，一个受肉欲威胁的淫荡国度，以一种特别严厉的形式存在着。卡尔德隆（Cald）。洛尔卡和巴莱·因克兰在许多剧作里采用了这一主题。在洛卡尔的《贝尔纳达之家》中，村里人纷纷传说要惩罚一个被诱好的姑娘，要用燃烧着的煤炭把她烧死在“她造率的地方”。在巴莱·因克兰的《圣词》中，通奸的女人仿佛是一个和魔鬼跳舞的女巫；她的过失一被发现，村里人就群起而撕光她的衣服，把她给淹死。根据许多传统，有罪的女人都要这样被判剥光衣服，然后或被乱石砸死，如圣经所记述的，或被活埋和淹死，或被活活烧死。这些酷刑的含义是，在剥夺她的社会尊严之后，以这种方式把她还给大自然；她通过自己的罪孽释放出了邪恶的自然放射物：赎罪以一种神圣的狂欢形式进行，女人们在盘问、殴打和残杀这个有罪的人时，轮流释放出源于神圣的然而又是有益的自然的液体，因为这些报复者的行为要和社会惯例保持一致。 随着迷信的减弱，恐惧的消散，这种野蛮的酷刑也消失了。但是在乡间，无神的吉普赛人仍以怀疑的目光去看待无家可归的流浪者。肆意利用勉力的女人——女冒险者、利用色相勾引和敲诈男人的荡妇、加规加联〔妖女人〕，仍属于令人不安的那一类人。在好莱坞影片中的坏女人身上，残留着喀耳刻的形象。女人们仅仅由于自己美丽就像女巫一样被烧死。古代的恐惧，在维护本地风化的虚伪掩饰下，始终出现在生活放荡的女人面前。 对于想冒险的男人来说，其实正是由于这些危险才让女人变成了诱人的猎物。他蔑视婚姻权利，不接受社会法律的支持，想在一对一的决斗中将她征服。他想占有女人，甚至她反抗他也在所不顾。他追求她时所利用的正是她用以摆脱他的自由。但这是枉费心机的。人在自由时不再扮演角色：自由的女人在违反男人意愿时往往是如此。甚至睡美人也可能不乐意醒来，也许她根本不认为把她唤醒的人是迷人王子，也许她不会微笑。公民凯恩的情形正是如此，他所保护的女人被认为是在受压迫，他的慷慨被揭示为是对权力和专制的一种意愿。主人公的妻子在听他讲自己的英雄事迹时心不在焉，诗人所梦想的缪斯在听他朗诵诗歌时可能在打哈欠。女战士可能感到厌倦，木愿意去打仗；她也可能会得胜。衰落时期的罗马女人，今天的许多美国女人，都把她们的任性，或她们的支配，强加在男人头上。灰姑娘究竟在哪里呢？ 男人想给予，而此时女人却要为自己索取。这将是一个自卫问题，而不再是一场游戏。从女人有自由时起，她只有一种命运，即为了她自己而去自由地创造。于是两性关系成了一种斗争关系。既然成了同类，女人就仿佛是令人望而生畏的，如她身为异己的大自然的一部分面对男人时那样。贪婪的雌昆虫（螳螂和蜘蛛）的神话代替了勤劳的蜜蜂或鸡妈妈的神话。雌性不再是在抚育小动物，宁可说是在吞食雄性动物，卵子不再是丰富的贮藏室，宁可说是用惰性物质营造的陷阱，精子在里面被阉割、被淹没。子宫，那温暖、宁静和安全的避难所，变成了由体液组成的肉质部分，食肉植物，会收缩的黑暗深渊，里面住着一条毒蛇，它在不停地消耗着男性的体力。基于同样的辩证逻辑，性爱对象变成了施展妖术的人，仆人变成了叛徒，灰姑娘变成了吃人的恶魔，而女人全都变成了敌人：这是男人在虚伪地把自己树为唯一的主要者时所付出的代价。 但是，和其他外表一样，这种充满敌意的外表也不是女人的最后面目。相反，在女人世界中引入了善恶对立说。毕达哥拉斯把善的本原比做男人，把恶的本原比做女人。男人想通过占有女人克服恶的本原；他们取得了一些成功。但是，正如基督教通过引入“赎罪”和'欺世”这些观念，赋予“罚太地狱”这个词以完整的意义那样，坏女人的形象也是在同圣洁女人的形象对比时才显得格外突出。“关于女人的争论”从中世纪延续至今。在争论的过程中，某些男人只想承认他们所梦想的是死后升入天堂的女人，而另一些人则只想承认他们梦想的是破灭的、被逐出教门的女人。但是实际上，如果说男人可以在女人身上发现一切，那是因为她具有这两种面目。她以活生生的肉体形式，代表了赋予生命以意义的一切价值与反价值（thevaluesandanti－values）。十分清楚，善与恶在这里以有奉献精神的母亲与不忠的情妇的形式处于相互对立之中。在《兰达尔王，我的儿子》这首古老的英国民歌中，年轻的骑士被清如下了毒，后来回家时死在母亲的怀抱里。里什潘（ffichpin）的也采用了这个主题，但总的看来，它更为悲凉、粗俗。天使般的米卡伊拉同邪恶的卡尔曼形成了鲜明的对比。母亲，忠实的未婚妻，有耐性的妻子——都在准备抚慰“荡妇”和女巫给男人心灵造成的创伤。在这明显固定的两极之间，我们还可以看到一大群模棱两可的人物。她们可怜而又可恨，有罪而又受害，风骚而又软弱，如天使又似魔鬼。女人就是这样提供了极其多样的行为和传感，以刺激男人，丰富他的生活。 男人为女人有这种复杂性而感到高兴：一个美丽动人的女仆足以令他神魂颠倒——而且，无需付出太高的代价。她是天使还是魔鬼？反复无常使她变成了斯芬克司，谈到这里我们可能会注意到，巴黎一家最有名的妓院，是在司芬克斯的保佑下并以它为标志经营的。在女性的全盛时代，在女性紧身胸衣。保尔·布尔热（PaulBoung）、亨利·巴塔耶及法国的康康舞风靡一时的时候，斯芬克斯这个主题也极为盛行：“你是谁，你来自何方，奇怪的斯芬克司？”在女性神秘性这个问题上，梦想和争论一直没有结束。长期以来，男人之所以不许女人放弃长裙、村裙、面纱、长手套和高跟鞋，的确是为了保持这种神秘性：对于他者差别的任何强调，都会让她变得更加令人满意，因为男人想占有的正是这样的他者。我们发现，阿兰·富尼埃在责备英国女人的握手方式和男人一样坦率的同时，又为法国女人的端庄而含蓄感到激动。如果女人要像遥远的公主那样受人仰慕，她就必须是神秘的、不为人所知的。没有理由认为富尼埃在生活中对女人特别恭敬，但他却把童年和青年时的全部惊叹，对失去的乐土的全部怀恋，都倾注到他所塑造的一个女人身上，这个女人的最重要美德仿佛是可望而不可及的。他的那幅伊冯娜·德·加莱画像就是用银白色和金黄色描绘的。 但是，男人甚至喜欢女人的缺点，只要这些缺点能引起神秘感。有一位男人对一位知识女性权威地说：“女人应当任性。”任性是难以预料的，它让女人犹如水中涟漪一般优美；虚假用迷人的映像使她格外生色；风骚乃至堕落为她带来了浓郁的芳香。她欺欺骗骗并躲躲闪闪，她令人难以捉摸并两面三刀——正因为如此，她才极大地迎合了男人的矛盾欲望。她是玛雅，有无数个假象。把司芬克斯描绘成年轻女人是一种常见的做法；处女性是最令男人激动的秘密之——他们越是放荡，就越是如此。少女的纯洁为各种放纵带来了希望，无人知晓她的单纯暗藏着怎样的堕落。她虽然接近动植物，但对于社会形式来说却已经是可以修正的，她既不是孩子也不是成人。她羞怯的女性气质不会引起任何恐惧，只会引起稍稍的不安。我们认为，她是女性神秘的有特权的代表者之一。然而，当“真正的少女”消失时，对她的狂热崇拜也变得过时。另一方面，妓女的形象在《玛雅》一剧中扮演的这种形象，在法国舞台上获得了极大成功，却在很大程度上保持了它的重要性。这种可塑性最强的女性典型，给描述堕落与美德的伟大剧目以充分的用武之地。对于谨小慎微的清教徒来说，妓女是邪恶、羞耻、疾病和该进地狱的化身，她引起恐惧和憎恨。她不属于任何一个男人，但却委身于每一个男人，以这种交易谋生。这样，她便重获了以前只有放纵无度的大母神才能享有的令人畏惧的独立，并且是尚未被男性社会神化的、仍具有害人魔力的女性气质的化身。在这种性行为中男性不可能认为她是属于他的；他仅仅把自己交给了肉体这个恶魔。这是一种特别令盎格鲁一撒克逊人感到愤恨的羞辱和玷污，他们认为这个肉体或多或少是可恶的。另一方面，若男人不害怕这个肉体，他将享受到通过妓女给予的、慷慨坦率的肯定，将通过她感受到未曾被道德淡化的、浓缩着的女性气质。他将在她的身上重新发现那些有魔力的美德，这些美德以前曾让女人和星辰及大海结成姐妹。有一个叫亨利·米勒的人，在和妓女同床共枕时感觉到，他可以触探到生命、死亡和宇宙深处发出的声音；他在插入阴道那潮湿的幽深处时，遇到了上帝。既然她属于贱民，处于道貌岸然的道德世界的边缘，那我们也可以把'血止仲树”〔妓女〕看成是所有正式美德对她都不起作用的人。她的低下地位使她同真正的圣徒相关联，因为曾被蹂躏的人会变得高贵起来。玛丽·马格达莱娜（MeqMedene）是基督的宠儿；罪孽比虚伪的美德更容易打开天堂的大门。阳思妥耶夫斯基笔下的拉斯果尔尼科夫，跪在索尼败的脚下，牺牲了引他犯罪的那种男性的傲慢自尊；由于谋杀，他使每个男人都有的那种分离意愿变得更加强烈了：一个谦卑的、屈服于一切人又被一切人所抛弃的妓女，能够极其友善地接受他的退位声明。机正似体做女〕这个词引起了令人不安的共鸣。因为许多男人梦想堕入歧途，但这并不是那么简单。人们不可能轻易获得积极表现出来的恶，连穷凶极恶的人也害怕作恶多端。女人可以让人们进行恶魔崇拜而又不会冒多大风险，因为撒旦会不邀而至。她处于男性世界的边缘，与她有关的法令实际上是无关紧要的。但她也是一个人，所以通过她可以偷偷地反抗人的法律。从缨塞到乔治·巴塔耶，真正的极其销魂的放荡，都是和妓女一起所进行的那种放荡。德·萨德侯爵（theMmpisdeSad）和萨谢一马索克让他们自己对女人的无法消除的欲望得以满足。他的追随者，以及大多数有“恶习”要满足的男人，一般都转向妓女。在一切女人当中，妓女对男性最顺从，可是也较能摆脱他。正因为如此，她们有非常丰富的内涵。然而，任何一种类型的女性——处女、母亲、妻子、姐妹、女仆、情妇、十分贤淑的女人以及和蔼可亲的婢妾，都可以把男人的欲望概括为见异思迁。 心理学，尤其是精神分析学，应当揭示个人对多面神话中的这一面或那一面特别感兴趣的原因。但是，一切情绪、魔念和精神变态中都含有这种神话。许多神经症的根源，都在于对被禁事物的疯狂迷恋，而这种事物只有在禁忌以前已被确立起来时才可以出现。来自外部的压力不足以解释它的出现。实际上，社会禁令不仅仅是惯例，除了别的，它们还有每个人都自我感受到的发展含义。 例如，考察一下“恋母情结”还是很有意思的。人们往往认为，它产生的原因在于本能趋向同社会法规之间的斗争，其实它首先是一种主体本身当中的内在冲突。婴儿对母亲乳房的依恋，最初是直接地、一般地、内在地表现出来的对生命的依恋。断乳引起的抵制，是遗弃引起的抵制的始点，一旦个体作为一个分离于整体的人出现，他就被判处在这一点上。只有从那时起，并且只有在他较为个体化、较为独立时，才可以把“性”这个术语，用在他对此后与他的肉体相分离的母亲肉体的爱恋上。因而，由于他者的存在，他的肉欲是定向的，它朝着一个与他相异的客体超越。但是，孩子对他自己是主体认识得越迅速、越坚决，同他自主性相对立的那种肉体纽带，就越会对他加以折磨。因此他避开母亲的抚摸；而她的权威，她对他的权利，有时还有她的出现，都会让他产生一种羞耻感。意识到她是一个肉体尤其令人感到尴尬和厌恶，所以地避免想到她的身体。在他的父亲或继父或请人所引起的恐惧感中，与其说有一种嫉妒的巨大悲痛，不如说有一种耻辱感。他一想到母亲是一个肉体的人，就会联想到他自己的出生，而这是他极力想否认的经历，或至少想赋予它以伟大宇宙观象的尊严。他觉得他母亲应当是大自然的概括，而大自然包围了一切人，不归任何人所有。他对母亲成为某个男人的猎物之所以表示愤恨，并不像人们通常坚持的那样，是因为他想自己占有她，而是因为他希望她能超脱一切占有；她不应当有妻子或情妇的那些可鄙特征。不过，在他青春期出现男性特征时，则完全可能发生母亲的身体让他产生性冲动的情况。但这是因为她使他想到了一般的女性。看到大腿或乳房时引起的这种欲望，在年轻男人认识到这个肉体是他母亲的肉体时，往往就消失了。性倒错的例子很多，因为，青春期既然是一个紊乱期，也就是一个性倒错期，于是厌恶引起笃圣，而诱惑则产生于被禁的事物。但不应当认为儿子最初就十分想和母亲性交，是外部禁令的干涉专横地阻止了他。相反，产生欲望恰恰是因为在个体本人的心目中确立了禁令。这种禁令是最常见的一般反应。但是，禁令在这里仍不是来自压制本能欲望的社会法规。相反，尊重是对最初厌恶的升华；年轻男人不愿意把他母亲看成是肉体的；他要美化她，使她和社会上的让他崇拜的神圣女人的纯洁形象相一致。于是，他致力于强化与下一代幸福有关的母亲的理想形象。但这一形象之所以十分有力，仅仅是因为它为一种内在的、个别的辩证法所致。既然每一个女人都有女人的因而母亲的一般本质，那么毫无疑问，男人对母亲的态度，将在他和妻子或情妇的关系中引起反响一一一一xru这并不像人们通常想像的那么简单。在肉体上对母亲感到明确性欲的青少年，完全可能只是在渴望一般女人。倘若如此，不论什么女人都可以满足他的热情冲动，因为他不是乱伦怀旧的牺牲品。反之，在纯精神上对母亲表示尊重的年轻男人，可能每时每刻都在希望女人能享有母亲那种纯洁。 性，因而通常也是女人，在正常与反常这两种行为中的重要性，无疑是大家都很清楚的。其他客体被女性化这种情况有时也可能会发生。既然女人在很大程度上确实是男人虚构的，那么他也就能够在男性身体上把她给虚构出来：在鸡好时某种性的界线依然存在。但通常，女人是被追求者，这在女性化的人们中间是无可置疑的。正是通过她，通过最好的她和最坏的她所具备的品质，身为一个年轻学徒的男人才听说了幸福与痛苦，恶习与美德，淫欲与克制，奉献与专横——他作为一个学徒学会了认识他自己。女人是运动和冒险，但也是一场考验。她是胜利的喜悦，也是战胜残留着的受挫感的更具有苦涩味的喜悦；她是毁灭的眩晕，是对地狱和死亡的迷恋。整个有意义的世界，只有通过女人才能够存在，她是男人的行为与情感的本体，所有能唤起他们自由的主动性的价值的化身。可以理解，即便是以最残忍的失望来惩罚，男人也不会愿意放弃包容他所有梦想的梦想。 因而，这就是女人具有双重欺骗外表的原因：她是男人梦想的一切，也是他不能获得的一切。她是仁慈的大自然与男人之间的理想调解者，也是尚未征服的大自然的诱惑，和一切善相对立。从善到恶，她是所有道德价值的化身，也是反对这些价值的化身。她是行动的主体，也是行动的任何一种障碍，是男人对世界的把握，也是他的挫折。所以，她是男人对自己的生存以及对他所能够赋予这一生存的任何表现的全部反映的起源与根源。可是，她也极力让他离开自我，陷入默默无闻与死亡。她是仆人和伙伴，但他也期望她是他的观众与评论者，能够证实他对存在（being）的感觉。然而，她却以淡漠乃至愚弄和嘲笑来反对他。他把他的向往与恐惧、他的爱与恨全都投射到她身上。如果说对于她特别说点什么是十分困难的话，那是因为男人想通过她寻找完整的自我，因为她是全部（An。就是说，在次要者这个意义上，她是全部，即她完全是他者。而作为他者，她又与她自己是有区别的，与人们所期望的她是有区别的。她既是全部，又不完全是这样；她是永恒的欺骗，是那种既不能顺利获得，又不能完全协调和全体生存者关系的生存的欺骗。