悲劇的誕生The Birth Of Tragedy 第103期:音樂頗象幾何圖形

Its, universality, however, is by no means that empty universality of abstraction, but of quite a different kind, and is united with thorough and distinct definiteness.

它對概念的普遍性之關係，決不是抽象概念的空洞的普遍性，而完全是另一種的；它含有極其清楚的明確性。

In this respect it resembles geometrical figures and numbers, which are the universal forms of all possible objects of experience and applicable to them all a priori, and yet are not abstract but perceptible and thoroughly determinate.

在這點上，音樂就頗象幾何圖形和數目了，後兩者是一切可能的經驗對象之共同形式，而且是apri－ori（先驗地）可以應用於一切事物的，但仍然不是抽象的，而是顯而易見和極其明確的。

All possible efforts, excitements, and manifestations of will, all that goes on in the heart of man and that reason includes in the wide, negative concept of feeling, may be expressed by the infinite number of possible melodies, but always in the universal, in the mere form, without the material, always according to the thing-in-itself, not the phenomenon, the inmost soul, as it were, of the phenomenon without the body.

種種可能的追求、激動、意志之表現，人類心靈中一切經歷，凡是被理性劃入所謂感情這個廣泛否定概念中的一切，都可以用無數可能的旋律表現出來，但總是表現爲只是形式而沒有物質的普遍性，總是依照物自體而非依照現象，儼然是無形體的現象的內在靈魂。

This deep relation which music has to the true nature of all things also explains the fact that suitable music played to any scene, action, event, or surrounding seems to disclose to us its utmost secret meaning, and appears as the most accurate and distinct commentary upon it.

音樂對一切事物本質的這種密切關係，也可以說明下述的事實：對任何一種場面、行爲、事件、或環境配上適當的音樂，就好象給我們顯示了它的奧妙的意義，好象是對它予以最正確最清楚的註釋；

This is so truly the case that whoever gives himself up entirely to the impression of a symphony, seems to see all the possible events of life and the world take place in himself; yet if he reflects, he can find no likeness between the music and the things that passed before his mind.

同樣，凡是心醉神往於交響樂的印象的人，總彷彿見到人生與世界的種種可能的事件盪漾於胸中，但是如果仔細一想，卻又不能指出這樂曲與盪漾胸中的事件有任何相似之處。