悲劇的誕生The Birth Of Tragedy 第109期:哈姆雷特的語言比行動膚淺

The history of the rise of Greek tragedy now tells us with luminous precision how the tragic art of the Greeks was really born of the spirit of music.

現在，希臘悲劇起源的歷史極其明確地告訴我們：希臘的悲劇藝術確實是從音樂精神誕生的。

With this conception we believe we have done justice for the first time to the primitive and astonishing significance of the chorus.

我們相信，我們還是第一次以這一思想公平地論斷歌隊的原本的、不可思議的意義。

At the same time, however, we must admit that the meaning of tragic myth set forth above never became clear in transparent concepts to the Greek poets, not to speak of the Greek philosophers:

然而，我們同時必須承認：對於上述的悲劇神話或劇情的意義，希臘詩人們不曾有過明確的概念，更不用說希臘哲學家了。

their heroes speak, as it were, more superficially than they act; the myth does not at all obtain adequate objectification in the spoken word.

悲劇英雄的語言似乎比他們的行爲更爲膚淺，他們的話完全沒有恰當地體現了劇情的意義。

The structure of the scenes and the visual images reveal a deeper wisdom than the poet himself can put into words and concepts: the same is also observable in Shakespeare, whose Hamlet, for instance, similarly, talks more superficially than he acts,

然而，情節的結構和直觀的形象卻比諸詩人筆下的語言和概念顯示出更深刻的智慧：在莎士比亞的作 品也可以見到同樣的情形，譬如，哈姆雷特的語言也就比他的行動更膚淺；

so that the previously mentioned lesson of Hamlet is to be deduced, not from his words, but from a profound contemplation and survey of the whole.

所以，如上所述，哈姆雷特的教訓就不能從他的語言，只能從深入靜觀和通觀全劇來領會。