悲劇的誕生The Birth Of Tragedy 第132 概念化的酒神智慧

Let us recollect further that Kant and Schopenhauer made it possible for the spirit of German philosophy, streaming from similar sources, to destroy scientific Socratism's complacent delight in existence by establishing its boundaries; how through this delimitation was introduced an infinitely profounder and more serious view of ethicAl problems and of art, which we may designate as Dionysian wisdom comprised in concepts.

再則，讓我們回憶一下：康德與叔本華已經使得出自同源的德國哲學精神可能指定科學蘇格拉底主義的界限了，從而破壞了它沾沾自喜的生存欲，既已限定了科學，就引進一種無限地更深刻更嚴肅的道德觀，我們可以毫不躊躇地稱之爲概念化的酒神智慧。

To what then does the mystery of this oneness of German music and philosophy point if not to a new form of existence, concerning whose character we can only inform ourselves by surmise from Hellenic analogies?

那麼，德國音樂與德國哲學之一致，這奧妙到底指示我們甚麼呢？

For to us who stand on the boundary line between two different forms of existence, the Hellenic prototype retains this immeasurable value, that all these transitions and struggles are imprinted upon it in a classically instructive form; except that we, as it were, pass through the chief epochs of the Hellenic genius, analogically in reverse order, and seem now, for instance, to be passing backward from the Alexandrian age to the period of tragedy.

可不是指示一種新的生活方式。我們唯有從希臘的先例來推測，始能瞭解這種生活的涵義嗎？對於我們站在兩種不同生活方式的界線上的今人，希臘人的楷模還保持着無比價值，因爲以前一切轉變和鬥爭在那兒留下其典範的痕跡；不過現在我們要顛倒次序來經歷希臘天才的各個偉大主要時代，例如，從亞歷山德里亞時代倒退到希臘悲劇時代。

At the same time we have the feeling that the birth of a tragic age simply means a return to itself of the German spirit, a blessed self-rediscovery after powerful intrusive influences had for a long time compelled it, living as it did in a helpless and unchaste barbarism, to servitude under their form. Now at last, upon returning to the primitive source of its being, it may venture to stride along boldly and freely before the eyes of all nations without being attached to the lead strings of a Romanic civilization; if only it can learn constantly from one people--the Greeks, from whom to be able to learn at all itself is a high honor and a rare distinction.

同時，我們也會感覺到：好象悲劇時代的誕生不過表示德國精神之返回自己，在強大入侵勢力長期間強迫它奴役於其治下，過着絕望的野蠻生活之源泉，它敢於在所有民族面前高視闊步，無須羅馬文明牽着它學步了，只要它能夠堅定地學習一個民族，學習古希臘人——向希臘人學習畢竟是一種高尚的光榮和出衆的優越。

And when were we in greater need of these highest of all teachers than at present, when we are experiencing a rebirth of tragedy and are in danger alike of not knowing whence it comes and of being unable to make clear to ourselves whither it tends?　

今日正當我們經歷着悲劇的再生，而只患不知它從何處來，也不瞭解它往何處去的時候，我們再沒有比今日更需要那些最高明的先師吧？