悲劇的誕生The Birth Of Tragedy 第102期:意志是一種媒介

Perhaps we may touch on this fundamental problem by asking: what aesthetic effect results when the essentially separate art-forces, the Apollinian and the Dionysian, enter into simultaneous activity?

我們不妨以一個問題來接觸這個基本問題：當這兩種根本不同的藝術力量，夢境與醉境，一起發生作用之時，將產生甚麼美感效果呢？

Or more briefly: how is music related to image and concept?

或者更簡單地說：音樂對於形象和概念的關係是怎樣的呢？

Schopenhauer, whom Richard Wagner, with special reference to this point, praises for an unsurpassable clearness and clarity of exposition, expresses himself most thoroughly on the subject in the following passage which I shall cite here at full length (Welt als Wille und Vorstellung, I, p. 309):

理查·瓦格納，特別關於這個問題，盛讚叔本華的闡明是不可超越地明晰和精闢。叔本華在下面這段中講得最爲詳細，我試徵引他的全文如下：

"according to all this, we may regard the phenomenal world, or nature, and music as two different expressions of the same thing, which is therefore itself the only medium of their analogy, so that a knowledge of it is demanded in order to understand that analogy.

“按照這一切，我們可以把現象界或自然界與音樂看作是同一東西（按，指意志）的兩種不同表現，因此意志是這兩者的類似之唯一媒介；要了解那種類似，就需要對它有所認識。

Music, therefore, if regarded as an expression of the world, is in the highest degree a universal language, which is related indeed to the universality of concepts, much as they are related to the particular things.

所以，如果把音樂看作世界的表現，那末音樂便是一種最高度的共同語言；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，