悲劇的誕生The Birth Of Tragedy 第128 歌劇起源的特點
Should we desire to combine the two conceptions that have just been shown to have influenced the origin of opera, it would merely remain for us to speak of an idyllic tendency of the opera.
In this connection we need only avail ourselves of the expressions and explanation of Schiller.
在這點上，我們不妨只使用席勒的術語和解釋。Nature and the ideal, he says, are either objects of grief, when the former is represented as lost, the latter unattained; or both are objects of joy, in that they are represented as real.
席勒說：“自然與理想，或者是悲哀之對象，假定前者已喪失而後者未達到；或者是快樂之對象，假定這兩者都是實在的。
The first case furnishes the elegy in its narrower signification, the second the idyll in its widest sense.
第一種情形提供狹義的哀歌，第二種情形提供了廣義的牧歌。”Here we must at once call attention to the common characteristic of these two conceptions in the genesis of opera, namely, that in them the ideal is not felt as unattained or nature as lost.
這裏，立刻引起注意的是這兩個概念在歌劇起源上的共同特點：我們會感覺到，理想並非未達到，而自然也並非喪失。This sentiment supposes that there was a primitive age of man when he lay close to the heart of nature, and, owing to this naturalness, had at once attained the ideal of mankind in a paradisiacal goodness and artistry.
就這種感想而言，人類有個原始時代，其時人接近大自然的心靈，在自然狀態中同時達到人類的理想，處於樂園的善行和藝術氣氛中；From this perfect primitive man all of us were supposed to be descended.
這就要假定我們人人都是這樣完美的原始人之後裔。We were even supposed to be faithful copies of him; only we had to cast off a few things in order to recognize ourselves once more as this primitive man, on the strength of a voluntary renunciation of a superficial learnedness, of superabundant culture.
其實，我們都是他們的忠實的肖象，不過我們必須拋掉一些東西，才能再度認識自己就是原始人的面影：這就視乎我們是不是自願捨棄多餘的學問和多餘的文化了。It was to such a concord of nature and the ideal, to an idyllic reality, that the cultured Renaissance man let himself be led back by his operatic imitation of Greek tragedy.
文藝復興時代有教養的人們，用歌劇來模仿希臘悲劇，以便回到自然與理想之和諧，回到牧歌的現實；He mad use of this tragedy as Dante made use of Vergil, in order to be conducted to the gates of paradise; while from this point he continued unassisted and passed over from an imitation of the highest Greek art-form to a "restoration of all things," to an imitation of man's original art-world.
他利用希臘悲劇，象但丁利用維琪爾，靠他引路達到天國之門；同時從這地點，他獨自摸索，繼續前進，從模仿悲劇這種最高希臘藝術形式走向“恢復一切文化遺產”，走向模仿人類的原始藝術境界。What a cheerful confidence there is about these daring endeavors, in the very heart of theoretical culture!--
在理論文化的核心，這些大膽的嘗試具有何等愉快的信心啊！——solely to be explained by the comforting belief, that "man-in-himself" is the eternally virtuous hero of the opera, the eternally piping or singing shepherd, who must always in the end rediscover himself as such, should he ever at any time really lost himself;
我們只能說，這是出於一種聊以自慰的信仰：以爲“自在的人”永遠是德高望重的歌劇英雄，永遠是吹笛輕歌的牧童，即使他間或真的一時喪失常態，但他總是終於恢復本色的to be considered solely as the fruit of that optimism, which here rises like a sweetishly seductive column of vapor from the depth of the Socratic world view.
我們只能說，這是樂觀主義的結果，彷彿是從蘇格拉底世界觀的深淵升起的一緒香氣襲人的雲霞。
