悲劇的誕生The Birth Of Tragedy 第147 悲劇神話的起源

Those who have never had the experience of having to see at the same time that they also longed to transcend all seeing will scarcely be able to imagine how definitely and clearly these two processes coexist and are felt at the same time, as one contemplates the tragic myth.

誰沒有體驗過這種情況；既不得不看，又同時嚮往視野之外的東西；誰就很難想象，在欣賞悲劇神話之際，這兩種過程明明是同時並存，同時感受的。

But all truly aesthetic spectators will confirm that among the peculiar effects of tragedy this coexistence is the most remarkable.

真正的審美觀衆會證實我的話；我認爲，在悲劇的特殊效果中，只有這種並存現象最值得注意。

Now transfer this phenomenon of the aesthetic spectator into an analogous process in the tragic artist, and you will have understood the genesis of the tragic myth.

現在，如果把觀衆的審美現象轉化爲悲劇藝術家的審美過程，您不難明白悲劇神話的起源了。

With the Apollinian art sphere he shares the complete pleasure in mere appearance and in seeing, yet at the same time he negates this pleasure and finds a still higher satisfaction in the destruction of the visible world of mere appearance.

悲劇神話，具有夢境藝術那種對假象和靜觀的快感。但同時它又否定這快感，而在這鮮明的假象世界之毀滅中，得到更高的滿足。

The content of the tragic myth is , first of all, an epic event and the glorification of the fighting hero.

悲劇神話的內容，首先是歌頌戰鬥英雄的史詩事件。

But what is the origin of this enigmatic trait that the suffering and the fate of the hero, the most painful triumphs, the most agonizing oppositions of motives, in short, the exemplification of this wisdom of Silenus, or, to put it aesthetically, that which is ugly and disharmonic, is represented ever anew in such countless forms and with such a distinct preference--and precisely in the most fruitful and youthful period of a people? Surely a higher pleasure must be perceived in all this.

然而，英雄的厄運，極慘淡的勝利，極痛苦的動機衝突，簡言之，西烈諾斯智慧之明證，或者用美學術語來說，醜惡與和諧，往往再三出現在許多民間文學形式中，尤其是在一個民族的精力充沛的幼年時代：——這種莫明其妙的特點從何而來呢，難道人們對這些東西真的感到更高的快感嗎？

That life really so tragic would least of all explain the origin of an art form--assuming that art is not merely imitation of the reality of nature but rather a metaphysical supplement of the reality of nature, placed beside it for its overcoming.

因爲，雖然生活中確實有如此悲慘的遭遇，但這事實很難說明一種藝術形式的起源，設使藝術不僅是自然真相的模仿，而且其實是自然真相的哲理說明，爲了戰勝自然而創造的。

The tragic myth too, insofar as it belongs to art at all, participates fully in this metaphysical intention of art to transfigure. But whatdoes it transfigure when it presents the world of appearance in the image of the suffering hero? Least of all the "reality" of this world of appearance, for it says to us: "Look there! Look closely! This is your life, this is the hand on the clock of your existence."

悲劇神話既然主要是屬於藝術範圍，它也就完全參予一般藝術美化現實的哲理目的。然而，如果它以受難的英雄形象來表現現象界，它到底美化了甚麼呢？它絕不可能美化了現象界的“現實”，因爲它對我們說：“你看這個！留心細看呀！這是你的生活！這是你們生存時計上的時針！”