本論文以張愛玲〈金鎖記〉及當今心理治療大師歐文‧亞隆(Irvin D. Yalom)小說《診療椅上的謊言》為文本，首先探討活在鴉片床上的七巧，她作為張愛玲筆下「極端病態」的小說人物，對照《診療椅上的謊言》裡醫師希摩和病人貝拉的心理診療案例，援引佛洛伊德移情作用及榮格「同時性」心理學理論，連接不同時代的小說人物七巧和她的兒女、希摩和貝拉如何在充滿治療象徵的鴉片床與榻診療椅，透過「醫療結盟」，演義心靈內部與外在世界衝突的戲劇性，編織出繁複奇異的心理治療圖示。第二部分討論處在不同世界的人如何連結及連結後的結果。論文以波蘭社會人類學家馬林諾夫斯基的「怪異系數」論點解讀歐文‧亞隆與張愛玲筆下同而不同的人物心理內外。「怪異系數」為馬林諾夫斯基民族誌田野調查研究的創見，他認為不同世界的人的民族特性，因為創作者描述重心不同，導致形成所謂的「怪異系數」，意即拿不同民族／性別獨特的經驗與之比較，會產生新的視野；他同時強調連接不同世界的人，靠的是共通性。毫無疑問，〈金鎖記〉、《診療椅上的謊言》的共通性非心理遊戲與戲劇性莫屬，而「怪異系數」提供我們一種新的視覺，將〈金鎖記〉中七巧無知覺的病態心理製造的戲劇性，放在現代心理學《診療椅上的謊言》裡希摩有計畫的作為脈絡中，兩相探討後，印證了「病態即藝術根源」最好的實踐。

This paper examines the Eileen Chang（1920-1995）short fiction "The Golden Cangue" and Irvin D. Yalom (1931-) "Lying on the Couch: A Novel" as primary texts. In the first part, Qigiao would be examined as the representative figure of "extreme pathology" in Chang's fictions, while referring to the psychoanalytic case of Doctor Seymour Trotter and patient Bella in Yalom's novel. Referring to Sigmund Freud's (1856-1936) "transference" and Carl Gustave Jung's (1875-1961) "synchronicity," I would juxtapose Qugiao and her children as well as Seymour and Bella in different couch, both similarly wave delicate and bizarre "diagram of psychological therapy" in the ceremony of "clinical alliance." In the second part, the sharing "commonality" within human beings in different worlds, the ongoing processes of their connecting, and the consequence of their connection would be explored. Further, since both Irvin's and Chang's figures share somewhat similar as well as different psyches, the paper would adopt Bronislaw Malinowski's "coefficient of weirdness" to interpret their characters' minds. Malinowski (1884-1942)a Poland social anthropologist, termed and introduced this theory in his own ethnical field investigation. In his definition, "coefficient of weirdness" is due to the different and then distorted viewpoints of the authors in their specific cultural backgrounds and contexts. The specificity is rooted from the author's ethical or gender contexts, which provides the refreshing visions; however, in Malinowski's point of view, we need the "commonality" in our connection with people in different worlds. Therefore, I would try to interpret the "commonality" in both Chang's and Irving's fictions as their psychical games and their theatricality. Since Malinowski's "coefficient of weirdness" provides a new way of seeing, I would attempt to conclude that such "theatricality of psychopathical development" is the best example and practice in the claim: "Psychopathy is the origin of art.