A study about the particle "on" in the word "famillionar"

RUPOLO Héctor


I’m not going to affirm that the Freudian text are inexhaustible, however the fact that today we go back about the famous Heine’s joke "famillonario" and we are able to find a new question , it leaves us the sensation of renewing the debt with Freud as with Lacan .(1)

  

"…..and my colleague shouldn’t by no way have dinner with servants , he should sit by my side at the table" and God punish me ,Mr. doctor, if I don’t tell him the hole truth " I sat with Salomon Rothschild, and he treated me completely like a pair ,completely famillonario"

 

famillionario is the translation to Spanish ( to English) that we agree with the German neologism created by Heinrich Heine in his << Reisebilder>.Trip folders.

 

"Rothschild treated me like one of his own, completely familiar"

like a millionaire does "

 

These two phrases stay tightened for the condensation in the final product that is the joke, process that could be expressed by one of the three graphs that Freud does in his book: (2)

 

 

 

Famili är

Milionär

___________

Familionär

 

(3) In another of the Freudian graphs it is shown how the second phrase almost disappears, and stays as a representative of it the word "millionar", that will be inserted in the word "familiar".

Rothschild treated me in a completely famili on är way.

Mili är

 

 

Heinrich Heine

 

Heine’s mother came from an intellectual and rich family, but his father’s origin was common. The name of his paternal grandfather was Chajjim Buckerburg. Since the Jews of the XVIII century didn’t have surname, Buckerburg was the name of the city where they lived.

 

Chajjim had a second marriage with the daughter of Meyer Simson Popert ,rich merchant from Altona. His second son is Salomon ,Heinrich Heines uncle, who has an important part in his story.

 

His mother’s name was Betty, and she had a plan for her firstborn son which was modified with the years. She first fantasized with him being a general of the Napoleon court, fascinated by the improvements brought for the Jews the invasion of Dusseldorff city where they lived.

When the idealization for Napoleon declines, Betty pretends her son to have power though money .The ideal of reference is the fathers stepbrother, Salomon Heine.

When Heinrich shows that he is so inept for one thing as for the other, tried to convert him into one of the most important jurist of the world.

 

And to add to this ,Heine’s father liked to quote in verse and philosophize. Betty despised this activity, to the extreme of forbidding Heinrich to read and to versify. Betty defined a poet like …" a poor devil that makes verses for some coins and always dies in an asylum."

 

 

The metaphor <<familiar>> and its efficiencies.

 

Let’s order the significant that operates in the creation of this neologism, with the formula of the metaphor. We situate << Famillonär>> like the significant that is over the bar on the left side of the metaphors formula.

 

Let’s see how the formula is

 

famillionär millionär

-------------- ---------------

familiär x

 

So <<famillonär>> is the substitutive significant of <<familiär>> if <<millionär y militär>> push the metonymical series<<familiär-militär-millionär>>to the word <<familiär>> under the bar.

What does <<familiär>> under the bar mean? What other thing could it mean that the poet Heinrich Heine manages to detach, if not absolutely, at least in a way, of his family history, writing?

 

Produces this <<familionär>> in the writing, writes the <<Reisebilder>> and its story stops being a family story, advance of the metaphor, is the story of Hirsch-Hyacinth with Salomon Rothschild, is not his story with his uncle.

 

This desire of his mother of him being famous, fames,-hunger, is a constant in his life, but with this desire of his mother, he does something, he really becomes famous, but, which way is he famous? Making the familiar go under the bar, so , restraining the familiar.

 

It’s not Heinrich Heine who produces this joke which gets famous, but, this neological formation , this is the joke that produces Heinrich Heine as a poet ,making that the <<familiär>> stays repressed under the bar.

 

The particle "on "

 

Many times we ask ourselves why Freud made the following division in the graph that we quoted before :

famili on är

(mili) (är)

 

Why does this separation appear on the particle on?

Let’s see what Freud says:

 

"…… this is then constrained to disappear while its most important component , the word <<Millionär>> that was able to rebel against this suffocation, it is introduced by pressure. .."

Let’s emphasize Freud’s expressions : suffocation, introduced by pressure .

 

By means of this particle "on" something rebels against being suffocated, but at the same time something there revels from the order of the writing.

 

The <<millionär>> could have been suffocated by the <<familiär>>, but for a rebellion that we could set in these letters "on" ,something happens, and it reveals us the structure of this significant <<famillonär>>-

The particle "on" that comes to form the word <<famillionär>> is the same final particle of the word Salomon, from Salomon Rothschild, the character from the joke. Now then ,we can’t forget that this character was there only to substitute to who was Heines uncle, Salomon Heine, with whom Heinrich had a son father relationship . Salomon Heine was who nourished Heinrich ,he gave him money to live, the rich, the rich millionaire from whom Heinrich Heine expects a woman, one of his daughters, this was the <<millionär>>

 

To conclude let’s risk the following question:

 

Is it possible that the production of this significant <<familionär>> permits us locate there something of "The name of the father" to Heine, on the virtue of that particle "on" while that termination of Salomon, which is the way of ending with Salomon, but not only of Salomon, his uncle, but also of his father, whose name was Simson.

 

 

Hector Rupolo

 

(1)   I add Lacan because he also dedicated exhaustively to this joke in his seminar "the formation of the unconscious "

(2)   Freud explains that he uses three types of letters the boldface, to mark the common syllables to the two words, and the italics to difference the components, also excludes the letter "l" because it doesn’t have pronunciation value .

(3)   We clarify this because this text will circulate in three different languages, we choose German for the words for Heine’s joke, as well as the references to the names of the uncle and the father.