悲劇的誕生The Birth Of Tragedy 第140 歌樂悲劇的效果
Let the attentive friend imagine the effect of a true musical tragedy purely and simply, ashe knows it from experience.
I think I have so portrayed the phenomenon of this effect in both its phases that he cannow interpret his own experiences.
我想，我已經從兩方面描寫了這效果的現象，所以您現在能夠說明您的經驗了。For he will recollect how with regard to the myth which passed in front of him, he felt himself exalted to a kind of omniscience, as if his visual faculty were no longer merely asurface faculty but capable of penetrating into the interior, and as if he now saw before him, with the aid of music, the waves of the will, the conflict of motives, and the swelling flood of the passions, sensually visible, as it were, like a multitude of vividly moving lines and figures; and he felt he could dip into the most delicate secrets of unconscious emotions.
您會記得：看到在您面前表演的神話，您覺得自己被提高到一種“全知”的境界，彷彿您的視覺能力不僅是一種外在的能力，而是能夠洞燭內蘊的，彷彿現在您憑藉音樂的幫助，目擊意志的沸騰，動機的鬥爭，激情的澎湃，一切瞭如指掌，宛若見到無數生動活潑的線條和圖形在眼前，因此您能夠潛入下意識情緒最微妙的祕奧之處。
While he thus becomes conscious of the highest exaltation of his instincts for clarity and transfiguration, he nevertheless feels just as definitely that this long series of Apollinian artistic effects still does not generate that blessed continuance in will-less contemplation which the plastic artist and the epic poet, that is to say, the strictly Apollinian artists,evoke in him with their artistic productions: to wit, the justification of the world of theindividuatio attained by this contemplation--which is the climax and essence of Apollinian art.
正當您感到自己對具體化和形象化的要求達到最高度時，您就同樣明確地覺得：這一系列的夢境藝術的效果，還是不能產生無意識的靜觀的幸福心境，象造型藝術家和史詩詩人，也就是說，真正夢境藝術家，以其作品所能喚起的那樣；這種心情，就是在無意識的靜觀中達到的個性（individuatio）境界之明證亦即夢境藝術的高峯和精髓。He beholds the transfigured world of the stage and nevertheless denies it. He sees the tragic hero before him in epic clearness and beauty, and nevertheless rejoices in his annihilation. He comprehends the action deep down, and yet likes to flee into the incomprehensible. He feels the actions of the hero to be justified, and is nevertheless still more elated when these actions annihilate their agent. He shudders at the sufferings which will befall the hero, and yet anticipates in them a higher, much more overpowering joy. He sees more extensively and profoundly than ever, and yet wishes he were blind.
您看到形象化的舞臺境界，可是您否定它。您見到眼前的悲劇英雄具有史詩的明確性和美，可是您對英雄的滅亡感到快慰。您極其深入地瞭解劇中情節，可是您願意逃入不可知的境界。您覺得英雄的行爲合情合理，可是當這些行爲促使英雄滅亡時，您反而更爲精神抖擻。您對於英雄所受的苦難悚然驚心，可是您預感到英雄將帶來一種更強烈的快樂。您比平時見到更廣更深，可是您寧願視而不見。How must we derive this curious internal bifurcation, this blunting of the Apollinian point, if not from the Dionysian magic that, though apparently exciting the Apollinian emotions to their highest pitch, still retains the power to force into its service his excess of Apollinian force?
我們如何推究這種奇異的自我分裂，這種夢境高峯的崩潰呢，它可不是由於酒神的魔力嗎？The tragic myth is to be understood only as a symbolization of Dionysian wisdom through Apollinian artifices. The myth leads the world of phenomena to its limits where it denies itself and seeks to flee back again into the womb of the true and only reality, where it then seems to commence its metaphysical swansong, like Isolde:
這種魔力雖則表面上掀起夢境情緒，使它達到頂點，卻能夠強迫過分的夢境力量爲它服務。所以，悲劇神話只能理解爲以夢境藝術爲媒介的酒神智慧之象徵；神話把現象界引到它的極限，直到它否定自己，而竭力再度投奔真正唯一的實在之懷抱，於是它象綺瑟那樣，似乎要高唱它的超脫的辭世曲了：In the rapture ocean'sbillowing roll,in the fragrance waves'ringing sound,in the world breath'swafting whole--to drown, to sink--unconscious--highest joy!在歡樂之海的澎湃波濤中，在大氣之流的宏亮回聲裏，在宇宙呼吸的吹拂的一切，沉溺了，淹沒了。無常識的，最高的狂喜！
