悲劇的誕生The Birth Of Tragedy 第100期:萬有之母
Before we plunge into the midst of these struggles, let us array ourselves in the arMor of the insights we have acquired.
In contrast to all those who are intent on deriving the arts from one exclusive principle, as the necessary vital source of every work of art, I shall keep my eyes fixed on the two artistic deities of the Greeks, Apollo and Dionysus, and recognize in them the living and conspicuous representatives of two worlds of art differing in their intrinsic essence and in their highest aims.
有人辛辛苦苦推斷藝術起源於單獨一個原理，彷彿一切藝術作品同出於一個不可缺少的生命根源；我卻不然，我始終目不轉睛地凝視着那兩位希臘藝術神靈，阿波羅與狄奧尼索斯，我看出他們是其內在本質和最高目的皆不相同的兩個藝術境界之生動活潑的代表。I see Apollo as the transfiguring genius of the principium individuationis through which alone the redemption in illusion is truly to be obtained; while by the mystical triumphant cry of Dionysus the spell of individuation is broken, and the way lies open to the Mothers of Being, to the innermost heart of things.
我把夢神阿波羅看作“個性原則”所化身的天才，只有依賴這原則才能真正獲得假象的救濟，但是在酒神狄奧尼索斯的神祕的歡呼之下這種個性化的魔力就破滅了，於是那條通向“萬有之母”，通向萬物核心的道路便敞開。
This extraordinary contrast, which stretches like a yawning gulf between plastic art as the Apollinian, and music as the Dionysian art, has revealed itself to only one of the great thinkers, to such an extent that, even without this clue to the symbolism of the Hellenic divinities, he concedes to music a character and an origin different from all the other arts, because, unlike them, it is not a copy of the phenomenon, but an immediate copy of the will itself, and therefore complements everything physical in the world and every phenomenon by representing what is metaphysical, the thing in itself. (Schopenhauer, Welt als Wille und Vorstellung, I, p. 310.)
這種巨大的對立，象一道洪溝分隔夢神的造型藝術與酒神的音樂藝術，在現代偉大思想家中只有叔本華一人看得如此清楚，所以他無須這兩個希臘神靈象徵的指導，也能看出在各種藝術中唯獨音樂具有特殊的性質和古遠的根源，因爲音樂不象其他藝術，它不是現象的複製，而是意志本身的直接寫照，所以它對宇宙間一切自然物而言是超自物的，對一切現象而言是物自體。
