悲劇的誕生The Birth Of Tragedy 第125 歌劇文化
The new style was looked upon as the reawakening of the most effective music, ancient Greek music:indeed, in accordance with the universal and popular conception of the Homeric as the primitive world,
they could abandon themselves to the dream of having descended once more into the paradisiacal beginnings of mankind,where music also must have had that unsurpassed purity, power, and innocence of which the poets, in their pastoral plays, could give such touching accounts.
所以他們可以縱情夢想，以爲再度落到人類發源的樂土，在那裏音樂也必然具有無可超越的純粹性，力量，以及詩人們在牧歌劇中那麼動人地吟詠的那種純潔生活。Here we can see into the innermost development of this thoroughly modern variety of art, the opera:art here responds to a powerful need, but it is a nonaesthetic need:
這裏，我們洞見這種真正現代藝術——歌劇——的內部發展。這裏，藝術是出於一種強烈的要求，但這是非審美的要求：
the yearning for the idyllic, the faith in the primordial existence of the artistic and good man.
憧憬着牧歌的生活，相信史前時代有愛好藝術的良善的人們。The recitative was regarded as the rediscovered language of this primitive man;opera as the rediscovered country of this idyllically or heroically good creature,
吟誦調被視爲重新發現的原始人的語言；歌劇被視爲新從尋獲的牧歌式或史詩式好人的國土，who simultaneously with every action follows a natural artistic impulse,who accomplishes his speech with a little singing,in order that he may immediately break forth into full song at the slightest emotional excitement.
那些好人一舉一動都同時遵從着自然的藝術衝動，一言一語至少唱出一些東西，所以感情稍有波動，便立刻盡情高歌一曲。It is now a matter of indifference to us that the humanists of the time combated the old ecclesiastical conception of man as inherently corrupt and lost,with this newly created picture of the paradisiacal artist:
當時的人文學者就用這種樂土藝術家的新塑形象，來反對教會之視人爲本身腐化墮落的生靈的陳舊觀念。在今日這對我們固然是無足輕重；so that opera is to be understood as the opposition dogma of the good man,but may also, at the same time, provide a consolation for that pessimism which,
所以，我們應該說，歌劇是良善人們所提出的相反信條，但與此同時，它也對悲觀主義提供一點安慰，owing to the frightful uncertainty of all conditions of life, attracted precisely the serious-minded men of the time.
當此人生無常觸目驚心的時代，正是仁人志士深深感到悲觀失望的。
