悲劇的誕生The Birth Of Tragedy 第126 歌劇原理

For us, it is enough to have perceived that the essential charm, and therefore the genesis, of this new art form lies in the gratification of an altogether nonaesthetic need, in the optimistic glorification of man as such, in the conception of the primitive man as the man naturally good and artistic--

對我們今人來說，只須瞭解：這種新藝術形式的內在魔力及其起源，在於滿足一種完全非美感的需要，在於以樂觀精神對人類本身的禮讚，在於認爲原始人是天性良善愛好藝術的人們，——

a principle of the opera that has gradually changed into a threatening and terrible demand which, in face of contemporary socialist movements, we can no longer ignore. The "good primitive man" wants his rights: what paradisiacal prospects!

這一歌劇原理，已經逐漸變成一種迫人的、可怕的要求，在現代社會主義運動當前，我們再也不能忽視這點。“良善的原始人”要求他的權利：一個樂土的遠景呵！

Besides this I place another equally obvious confirmation of my view that opera is based on the same principles as our Alexandrian culture.

此外，我還要提出一個同樣明顯的證據，以證實我這樣的觀點：即，歌劇和我們的亞歷山德里亞文化建立在同一原理上。

Opera is the birth of the theoretical man, the critical layman, not of the artist: one of the most surprising facts in the history of all the arts.

歌劇是理論家的產物，是批評界中外行人的而不是藝術家的產物：那是全部藝術史上一件最驚大的事實。

It was the demand of thoroughly unmusical hearers that before everything else the words must be understood, so that according to them a rebirth of music is to be expected only when some mode of singing has been discovered in which text-word lords it over counterpoint like master over servant.

絕無音樂修養的聽衆要求首先必須聽懂歌詞，所以認爲，只有當發明了一種唱法，其詞句支配着對位的旋律，有如主人支配奴僕那樣，那時才能指望音樂的再生。

For the words, it is argued, are a much nobler than the accompanying harmonic system as the soul is nobler than the body.

因爲，據說詞句遠貴於伴奏的旋律系統，正如靈魂遠貴於肉體。