悲劇的誕生The Birth Of Tragedy 第47期:何爲"希臘的樂觀"

After an energetic attempt to focus on the sun we have, by way of remedy almost, dark spots before our eyes when we turn away.

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當我們竭力注視太陽之後眼花繚亂地轉身避開，我們就感覺到眼前有許多幫助視力恢復的暗黑點。

Conversely, the luminous images of the Sophoclean heroes--those Apollinian masks--are the necessary productions of a deep look into the horror of nature;

反之，索福克勒斯的悲劇英雄的光輝形象，簡言之，其化裝的夢神成份，卻是人窺見了自然的祕奧和恐怖之必然結果，

luminous spots, as it were, designed to cure an eye hurt by the ghastly night.

他們彷彿是用來治療久居恐怖黑夜而至失明的眼睛的光點。

Only in this way can we form an adequate notion of the seriousness of Greek "serenity";

只有在這一意義上，我們才能相信掌握了所謂“希臘的樂觀”這莊嚴卓越的概念之真諦，

whereas we find that serenity generally misinterpreted nowadays as a condition of undisturbed complacence.

但是在今日我們居然隨處都會遇見一種錯誤的見解，說是這種樂觀乃是安枕無憂的愉快心情的結果。

Sophocles conceived doomed Oedipus the greatest sufferer of the Greek stage,

希臘悲劇中最悲哀的形象，不幸的奧狄浦斯，

as a pattern of nobility, destined to error and misery despite his wisdom,

他雖則聰明過人，卻命定要犯錯誤，受災難，

yet exercising a beneficent influence upon his environment in virtue of his boundless grief.

可是，嚐盡千辛萬苦之後， 終於對他周圍的人們發揮一種神祕的造福的力量，甚至在他死後，這力量還是有效。