悲劇的誕生The Birth Of Tragedy 第116期:新的非酒神精神
The new un-Dionysian spirit, however, reveals itself more plainly in the dénouements of the new dramas.
In the Old Tragedy one could sense at the end that metaphysical comfort without which the delight in tragedy cannot be explained at all.
在舊悲劇的結局上，你總能感到一種超脫的慰藉；沒有這，悲劇的快感就無從解釋。The reconciling tones from another world sound purest, perhaps, in the Oedipus at Colonus.
也許在“奧狄普斯在科羅諾斯”一劇中，你還聽到一種從彼岸傳來的最純粹的和諧情調。
Now that the genius of music has fled from tragedy, tragedy, strictly speaking, is dead: for from what source shall we now draw this metaphysical comfort?
現在，音樂天才既已逃出悲劇，嚴格地說，悲劇也就與世長辭；因爲人們還能夠從甚麼源泉來吸取這種超脫的慰藉呢？The new spirit, therefore, sought for an earthly resolution of the tragic dissonance. The hero, after being sufficiently tortured by fate, earned a well-deserved reward through a splendid marriage or tokens of divine favor.
所以，人們只好向塵世尋求解決悲劇失調的方法，英雄飽受命運磨折之後終於得到好報，美滿的姻緣，或者皇天的賜福。The hero had turned gladiator on whom, after he had been nicely beaten and covered with wounds, freedom was occasionally bestowed. The deus ex machina took the place of metaphysical comfort.
英雄變成了格鬥奴隸，在他慘遭痛擊遍體鱗傷之後，主人偶或予以自由。“神機妙算”代替了超脫的慰藉。I will not say that the tragic world view was everywhere completely destroyed by this intruding un-Dionysian spirit: we only know that it had to flee from art into the underworld as it were, in the degenerate form of a secret cult.
我並不是說，悲劇的世界觀在任何場合都被這種入侵的非酒神精神徹底粉碎，我們只知道，它已經逃出藝術的領域，彷彿潛入冥土，變成一種蛻化的祕儀。Over the widest extent of the Hellenic character, however, there raged the consuming blast of this spirit, which manifests itself in the form of "Greek cheerfulness," which we have already spoken of as a senile, unproductive love of existence.
然而，這種精神的摧枯拉朽的風暴掃蕩着希臘民族性的最廣大領域，它以“希臘的樂觀”的姿態出現。上文已經講過，這不過是一種衰老的、無生產力的生存慾望而已。
