悲劇的誕生The Birth Of Tragedy 第149 音樂與神話
Is it not possible that by calling to our aid the musical relation of dissonance we may meanwhile have made the difficult problem of the tragic effect much easier?
For we now understand what it means to wish to see tragedy and at the same time to long to get beyond all seeing:
因爲，我們現在明白了，所謂“意欲看悲劇，而同時又憧憬着視野以外的東西”是甚麼意思。referring to the artistically employed dissonances, we should have to characterize the corresponding state by saying that we desire to hear and at the same time long to get beyond all hearing. The striving for the infinite, the wing-beat of longing that accompanies the highest delight in clearly perceived reality, reminds us that in both states we must recognize a Dionysian phenomenon: again and again it reveals to us the playful construction and destruction of the individual world as the overflow of a primordial delight. Thus the dark Heraclitus compares the world-building force to a playing child that places stones here and there and builds sand hills only to overthrow them again.
就音樂上的不和諧而言，我們不妨指出這種心情的特徵如下：我們願意諦聽，而同時又憧憬着聽覺以外的東西，嚮往無限的境界，對了如指掌的現實感到最高快樂而神飛天外。這種現象，使我不由得想到：必須把這兩種心情看作同一的醉境現象，我們不斷地看到個性世界忽而建成，忽而毀掉的兒戲，彷彿原始的快感在橫流旁溢，正如玄祕的赫拉克利圖把創造世界的力量譬作頑童嬉戲，這裏那裏疊起石塊，築成沙堆，而又把它推翻那樣。
In order, then, to form a true estimate of the Dionysian capacity of a people, we must not only think of their music, but also just as necessarily of their tragic myth, as the second witness of this capacity.
所以，爲了正確的估計一個民族的醉境能力，我們不但要想到他們的音樂，而且要把他們的悲劇神話視爲這種能力的第二佐證。Considering this extremely close relationship between music and myth, one must suppose that a degeneration and depravation of the one will involve a deterioration of the other, if the weakening of the myth really expresses a weakening of the Dionysian capacity.
至於音樂與神話的密切關係，也同樣必須設想：一者的蛻化衰落，勢必引起另一者的凋敗。一般地說，神話之衰微，往往表示醉境能力之削弱。Concerning both, however, a glance at the development of the German character should not leave us in any doubt.
然而，關於這兩者，試看德國天才的發展，便毋庸置疑。In the opera, just as in the abstract character of our mythless existence, in an art degenerated to mere entertainment as will as in a life guided by concepts, the inartistic as well as life-consuming nature of Socratic optimism had revealed itself to us.
在歌劇上，正如在我們那無神話存在的抽象狀態，在墮落爲娛樂的藝術上，正如我們憑概念指導的生活方面，我們都見到蘇格拉底樂觀主義，它既否定藝術，又虛度人生，幸而還有一些使我們快慰的徵兆。Yet we were comforted by indications that nevertheless in some inaccessible abyss the German spirit still rests and dreams, undestroyed, in glorious health, profundity and Dionysian strength, like a knight sunk in slumber; and from this abyss the Dionysian song rises to our ears to let us know that this German knight is still dreaming his primordial Dionysian myth in blissfully serious visions. Let no one believe that the German spirit has forever lost its mythical home when it can sill understand so plainly the voices of the birds that tell of that home.
雖然如此，但德國精神還睡在深不可測的淵壑中，安然無恙，奧妙莫測，還保持着醉境力量，如同一個好夢正濃的武士；酒神祭的歌聲，從這深淵飄送到我們的耳朵，教我們知道：這位德國武士，在快樂而莊嚴的夢境中，尚且夢着他的原始的酒神神話。你不要以爲：德國精神已經永遠失掉它的神話故鄉，因爲它依然清楚地聽到靈島的啼聲在訴說故鄉的美景。Some day it will find itself awake in all the morning freshness following a tremendous sleep: then it will slay dragons, destroy vicious dwarfs, wake Brünhilde--and even Wotan's spear will not be able to stop this course!
有朝一日，它一旦從酣睡中覺醒，朝氣煥發，那時它將斬蛟龍，殺掉狡猾的侏儒，喚醒勃倫希德（Brunhild），——那時甚至沃頓（Wotan）的長矛也不能阻止它前進！My friends, you who believe in Dionysian music, you also know what tragedy means to us. There we have tragic myth reborn from music--and in this myth we can hope for everything and forget what is most painful. What is most painful for all of us, however, is--the prolonged degradation in which the German genius has lived, estranged from house and home, in the service of vicious dwarfs. You understand my words--as you will also, in conclusion, understand my hopes.
我的朋友，您是相信酒神音樂的，您也知道悲劇對我們的意義。在悲劇中，我們見到悲劇神話從音樂裏再生——在誕生時，我們能希望到一切，而忘掉最痛苦的事情。然而，使我們大家感到最痛苦的，是德國天才離家去國，爲狡猾的侏儒們效勞，屈辱久矣！您是明白我的話的，最後您也將瞭解我的希望。
