悲劇的誕生The Birth Of Tragedy 第138 夢神的力量
Here the tragic myth and the tragic hero intervene between our highest musical emotion and this music--at bottom only as symbols of the most universal facts, of which only music can speak so directly.
But if our feelings were those of entirely Dionysian beings, myth as a symbol would remain totally ineffective and unnoticed, and would never for a moment keep us from listening to the re-echo of the universalia ante rem [The universals before the thing.].
但是，如果要我們有純粹酒神式生靈的感情，這種象徵的神話，即使在我們身邊，既不妨礙我們，也不引起注意，決不會使我們霎時間充耳不聞uniBversaliaanterem（先於事物的普遍性）的迴響。Yet here the Apollinian power erupts to restore the almost shattered individual with the healing balm of blissful illusion: suddenly we imagine we see only Tristan, motionless, asking himself dully: "The old tune, why does it wake me?"
然而，在這場合，爲了恢復身心俱瘁的個人，夢神的力量立刻發揮出來了，施以賞心悅目的幻景的靈藥：突然間我們彷彿只見愁斯丹（Tristan）動也不動，沒精打彩，自言自語說道：“舊調重彈罷了，它喚醒我甚麼感想呢？”
And what once seemed to us like a hollow sigh from the core of being now merely wants to tell us how "desolate and empty the sea."
以前它感動我們，象從生存心中發出的深沉的喟嘆，現在卻似乎只是告訴我們，“這苦海是多麼寂寞空虛！”And where, breathless, we once thought we were being extinguished in a convulsive distention of all feelings, and little remained to tie us to our present existence, we now hear and see only the hero wounded to death, yet not dying, with his despairing cry: "Longing! Longing! In death still longing! for very longing not dying!"
以前我們屏息靜聽，但願在感情掙扎中死去，生死之間只有一發相連，現在我們耳聞目睹的，只是那個受傷致命、一息尚存的英雄絕望地喊道：“憧憬啊！憧憬啊！垂死還要憧憬，爲了憧憬而不死！”And where, formerly after such an excess and superabundance of consuming agonies, the jubilation of the horn cut through our hearts almost like the ultimate agony, the rejoicing Kurwenal now stands between us and this "jubilation in itself," his face turned toward the ship which carries Isolde.
以前在飽受悽愴欲絕的悲痛之後，一聲畫角的歡呼，便刻骨鏤心，使我們悲哀到極點，現在快樂的庫溫那爾（Kurvenal）隔開我們與這“歡呼”，面對着綺瑟（Isolde）所乘的一葉孤帆。However powerfully pity affects us, it nevertheless saves us in a way from the primordial suffering of the world, just as the symbolic image of the myth saves us from the immediate perception of the highest world-idea, just as thought and word save us from the uninhibited effusion of the unconscious will.
儘管我們深深感到同情的哀傷，但這點同情心總多少救濟了我們，得免世界的原始痛苦，正如神話的象徵畫景使我們得免目擊最高的世界觀念，正如思想和臺詞使我們得免放任無意識的意志橫流旁溢。The glorious Apollinian illusion makes it appear as if even the tone world confronted us as a sculpted world, as if the fate of Tristan and Isolde had been formed and molded in it, too, as in an exceedingly tender and expressive material.
壯麗的夢境幻覺，使我們覺得：彷彿這音樂境界，變成了造型境界，在我們面前出現，彷彿愁斯丹和綺瑟的命運，也不過是用最柔軟可塑的泥土在那裏捏塑而成。Thus the Apollinian tears us out of the Dionysian universality and lets us find delight in individuals; it attaches our pity to them, and by means of them it satisfies our sense of beauty which longs for great and sublime forms; it presents images of life to us, and incites us to comprehend in thought the core of life they contain.
所以，夢神的力量，從我們手上奪去醉境的普遍性，使我們喜愛個別的東西；它把我們的同情心桎梏在個性上；它以個性事物來滿足我們渴望偉大崇高形象的美感；它把個人生平展示給我們，鼓舞我們去沉思默想其中蘊涵的生活真諦。With the immense impact of the image, the concept, the ethical teaching, and the sympathetic emotion, the Apollinian tears man from his orgiastic self-annihilation and blinds him to the universality of the Dionysian process, deluding him into the belief that he is seeing a single image of the world (Tristan and Isolde, for instance), and that, through music, he is merely supposed to see it still better and more profoundly.
集形象、概念、道德教訓，共鳴情感等巨大力量之大成，夢神的威力就能拯拔人們於祕儀縱慾的自我毀滅，引誘他們跨過醉境過程的普遍性，而走入幻覺之中，以爲自己見到一幅孤立的世界畫景，例如，愁斯丹和綺瑟；而且通過音樂，他們就能夠看得更清楚、更深入。What can the healing magic of Apollo not accomplish when it can even create the illusion that the Dionysian is really in the service of the Apollinian and capable of enhancing its effects--as if music were essentially the art of presenting an Apollinian content?
夢神的治病魔力有甚麼做不到的呢？它甚至能使我們產生幻覺，好象酒神真是爲夢神服務，而且能夠提高夢境的效果；真的，好象音樂根本是描寫夢境內容的表現藝術。
