悲劇的誕生The Birth Of Tragedy 第107期:個人毀滅時的快感

From the nature of art as it is usually conceived according to the single category of appearance and beauty, the tragic cannot honestly be deduced at all; it is only through the spirit of music that we can understand the joy involved in the annihilation of the individual.

從一般依據假象與美的單純範疇來理解的藝術特質，老實說，是不能推斷“悲壯”這概念的，只有從音樂的精神我們才能理解個人毀滅時的快感。

For it is only in particular examples of such annihilation that we are clearly the eternal phenomenon of Dionysian art, which gives expression to the will in its omnipotence, as it were, behind the principium individuationis, the eternal life beyond all phenomena, and despite all annihilation.

因爲唯有依據個人毀滅的特殊事例，我們才能明白醉境藝術的永恆現象，這種藝術表現了那彷彿隱藏在個性原則後面的萬能的意志，那在現象彼岸的歷萬劫而長存的永生。

The metaphysical joy in the tragic is a translation of the instinctive unconscious Dionysian wisdom into the language of images: the hero, the highest manifestation of the will, is negated for our pleasure, because he is only phenomenon, and because the eternal life of the will is not affected by his annihilation.

悲壯所引起的超脫的快感，乃是本能的、無意識的酒神智慧的舞臺術語罷了：悲劇英雄，意志之最高表現，爲我們的快感而被否定了，因爲他不過是現象，便是意志的永生不會因他的毀滅而受影響的。

"We believe in eternal life," exclaims tragedy; while music is the immediate idea of this life. Plastic art has an altogether different aim: here Apollo overcomes the suffering of the individual by the radiant glorification of the eternity of the phenomenon: here beauty triumphs over the suffering inherent in life; pain is obliterated by lies from the features of nature.

“我們信仰永生。”悲劇這樣喊道。而音樂就直接表現永生這觀念。造型藝術卻另有一種完全不同的目的：在造型藝術，夢神以歌頌現象的永恆光榮來克服個人的苦惱，美戰勝了生活固有的苦惱，痛苦可謂業已從性靈的容貌上消失了。

In Dionysian art and its tragic symbolism the same nature cries to us with its true, undissembled voice: "Be as I am! Amid the ceaseless flux of phenomena I am the eternally creative primordial mother, eternally impelling to existence, eternally finding satisfaction in this change of phenomena!"

反之，在醉境藝術及其悲劇的象徵中，性靈卻以坦率摯誠的聲音對我們喊道：“學我的榜樣吧！在瞬息萬變的現象中，我是永遠創造，永遠求生，歷萬劫而不朽的根源之母！”