悲劇的誕生The Birth Of Tragedy 第139 音樂與戲曲
By means of the pre-established harmony between perfect drama and its music, the drama attains a superlative vividness unattainable in mere spoken drama.
In the independently moving lines of the melody all the living figures of the scene simplify themselves before us to the distinctness of curved lines, and the harmonies of these lines sympathize in a most delicate manner with the events on the stage.
因爲在舞臺上生動的形象，各自劃出律動的線條，在我們眼前簡化爲一條曲線這麼清楚，所以這些線條的交錯，甚至在絲毫不爽配合舞步的和聲變化上，也可以聽出來。These harmonies make the relations of things immediately perceptible to us in a sensuous, byno means abstract manner, and thus we perceive that it is only in these relations that theessence of a character and of a melodic line is revealed clearly.
我們通過和聲變化，直接領悟到事物的關係，是耳聞目睹，絕不是抽象地體會；我們通過它，也認識到：一個性格或一條律動線條的本質，只有在這些關係上表現得最爲清楚。
And while music thus compels us to see more and more profoundly than usual, and we see the action on the stage as a delicate web, the world of the stage is expanded infinitely and illuminated for our spiritualized eye. How could a word-poet furnish anything analogous, when he strives to attain this internal expansion and illumination of the visible stage-world by means of a much more imperfect mechanism, indirectly, proceeding from word and concept?
既然音樂這樣有力地強迫我們比以前見得更廣更深，使得劇情在我們眼前展開，象一片最纖巧的薄羅：舞臺的境界便無限地擴張，顯現在我們反心內視的慧眼之前，彷彿由裏及表予以闡明那樣。使用文字的詩人，即使努力要做到從內部展開和闡明眼前的舞臺境界，可是他以歌詞和概念這些不完備的手段來間接說明，又怎能提供這樣的效果呢？Although musical tragedy also avails itself of the word, it can at the same time place beside it the basis and origin of the word, making the development of the word clear to us, from the inside.
固然，歌樂悲劇也要使用文字，但它同時兼用音樂，——歌詞的基礎和根源，——所以能夠給我們從裏及表地闡明歌詞的發展。Concerning the process just described, however, we may still say with equal assurance that it is merely a glorious appearance, namely, the aforementioned Apollinian illusion whose influence aims to deliver us from the Dionysian flood and excess.
然而，關於上述的過程，我們還可以明確地指出：那不過是一種壯麗的假象，即上述的夢境幻覺。我們靠它的影響而得免於醉境的感情壓抑和過度興奮而已。For, at bottom, the relation of music to drama is precisely the reverse: music is the real idea of the world, drama is but the reflection of this idea, a single silhouette of it. The identity between the melody and the living figure, between the harmony and the character relations of that figure, is true in a sense opposite to what one would suppose on the contemplation of musical tragedy.
其實，音樂對戲曲的關係畢竟恰好相反：音樂是實在的世界理念，戲曲僅是這理念的餘暉，是它的孤立的陰影。所謂律動線條與人物形象之一致，音樂諧調與人物性格之一致，正確地說，是同我們在欣賞歌樂悲劇時所設想者恰好相反。Even if we agitate and enliven the figure in the most visible manner, and illuminate it from within, it still remains merely a phenomenon from which no bridge leads us to true reality, into the heart of the world.
我們可以非常鮮明地把人物形象寫得慷慨激昂，生動活潑，從裏及表地予以闡明，但是形象始終不過是一種現象，從現象引向真正的實在，引向世界的心靈，是沒有橋樑的。
But music speaks out of this heart; and though countless phenomena of the kind were to accompany this music, they could never exhaust its essence, but would always be nothing more than its externalized copies.
然而，音樂是世界的心聲，縱使無數這類現象可能通過這種音樂而出現，但是它們永遠不能竭盡音樂的妙諦，而往往只是它的表面寫照罷了。As for the intricate relationship of music and drama, nothing can be explained, while everything may be confused, by the popular and thoroughly false contrast of soul and body; but the unphilosophical crudeness of this contrast seems to have become--who knows for what reasons--a readily accepted article of faith among our aestheticians, while they have learned nothing of the contrast of the phenomenon and the thing-in-itself--or, for equally unknown reasons, have not cared to learn anything about it.
關於音樂與戲曲的微妙關係，用靈肉對立這種完全錯誤的庸俗見解，當然不能說明甚麼的，反而把一切擾亂；可是這種非哲學的淺薄的二元論，卻似乎已成爲我們美學家所樂意接受的信條，——天曉得是甚麼原因——至於現象與物自體的對立，他們就一無所知，或者不知爲甚麼不願意探討。
