本文研究雨連．格林(1900-1998)的一個短篇小說《克麗絲汀》。敘述者尚（Jean）以第一人稱觀點，回溯自己經歷過的一段精神上的戀曲，圍繞在三位女性之間：母親、姨母、表妹。對正走入青春期的主人翁，這「三位一體」各代表一種誘引力。相對於對克麗絲汀的慾望乃建立於年齡相仿的兩小無猜模式，有歷史、文化符碼的參照仿效，對姨母的慾望不但沉潛，不可招供，因為觸及亂倫。在理論的實踐上，除了運用弗洛伊德以替代物的方式解決伊底帕斯戀母禁忌的閹割恐慌，本文主要採用赫內．吉哈爾的「擬仿慾望」理論，試圖解析兩小無猜的愛情乃建立於對「中介」之仿效。故事中的姨母，既是母親的替代象徵，也是慾望物的指引者，激發主人翁模仿的衝動與敵對的衝突。透過「擬仿慾望」理論，我們不但可以窺見這道慾望弔詭的邏輯，更可在女主角之死瞥見以如私刑處死的替罪羔羊機制。 This article discussed Julien Green’s（1900-1998）first novel, “Christine” , in which the main character (Jean) recalled his spiritual relationships with three females – his mother, ante and cousin. While Jean’s emotions for his cousin (Christine) were idyllic, his desire toward his ante was implicit, unspeakable and incestuous. Despite precedent critics that adapted Freud’s theory of castration anxiety to explain Julien Green’s work, this article draws on René Girard’s theory of mimetic desire to illustrate Jean’s spiritual relationships with the three females. Jean’s love with Christine, illuminated by Girard’s theory, is considered as a “doubled” relationship with his mother (or the substitute of mother), or with his ante who behaved as the model, functioned as an indicator of what to desire, whose desire for the same object is imitated. Girard considered Mother as the woman in power, symbolically as the threat of castration to the hero, which generated the impulsive motif of imitation and the ontological conflict between antagonists by the end. Through the mimetic aspect, we detected that desire was regarded as the key to the system of relationships and the cause of violence; the death of heroine as a result of the scapegoat mechanism.