悲劇的誕生The Birth Of Tragedy 第86期:處於奴婢地位的柏拉圖
A good example of this is Plato himself.
Although he did not lag behind the naive cynicism of his master in the condemnation of tragedy and of art in general, nevertheless his creative gifts forced him to develop an art form deeply akin to the existing forms which he had repudiated.
柏拉圖之非難悲劇和一般藝術，並不落後於他的先師之天真的冷嘲熱諷，可是爲了滿足藝術的要求，他也不得不創造一種藝術形式，這種形式卻同現成的而爲他所否棄的那些藝術形式有着內在的關係。The main objection raised by Plato to the older art (that it was the imitation of an imitation and hence belonged to an even lower order of empiric reality) must not, at all costs, apply to the new genre; and so we see Plato intent on moving beyond reality and on rendering the idea which underlies it.
柏拉圖對古代藝術的主要非難是：藝術是對一種假象的模仿，因此屬於比經驗世界爲低級的領域。這論點首先不是針對這種新的藝術作品的，所以我們就看見柏拉圖竭力走出現實界，而高談“理念”是這僞現實界的基礎。
By a detour Plato the thinker reached the very spot where Plato the poet had all along been at home, and from which Sophocles, and with him the whole poetic tradition of the past, protested such a charge.
然而，思想家柏拉圖卻因此走上迂迴的道路，終於達到他作爲詩人始終覺得安適的一個立足點，而索福克勒斯和所有老輩藝術家就是從這一立足點來莊嚴地抗議他的非難。Tragedy had assimilated to itself all the older poetic genres.
如果說悲劇吸收了以前的各種藝術，In a somewhat eccentric sense the same thing can be claimed for the Platonic dialogue, which was a mixture of all the available styles and forms and hovered between narrative, Iyric, drama, between prose and poetry, once again breaking through the old law of stylistic unity.
這說法在特殊意義上也適用於柏拉圖的“對話錄”，它從混合一切現成的形式和風格而產生出來，它動搖於敘事、抒情與戲曲之間，散文與詩歌之間，因此打破 了統一語言形式這條嚴格的老規律。The Cynic philosophers went even farther in that direction, seeking, by their utterly promiscuous style and constant alternation between verse and prose, to project their image of the "raving Socrates" in literature, as they sought to enact it in life.
犬儒學派的作家們沿着這條道路就走得更遠了。他們以豐富多彩的風格馳騁於散文與韻文之間，而達到“狂妄的蘇格拉底”的詩情畫意，他們在現實生活中也往往模仿他。The Platonic dialogue was the lifeboat in which the shipwrecked older poetry saved itself, together with its numerous offspring.
柏拉圖的對話錄宛若苦海慈航，拯救了遇難的古代詩歌和她的兒女，Crowded together in a narrow space, and timidly obeying their helmsman Socrates, they moved forward into a new era which never tired of looking at this fantastic spectacle.
它們擠在這一隅之地，戰戰兢兢地服從這舵手蘇格拉底；現在他們駛入一個嶄新的世界，沿途的風光奇景是永遠看不完的。Plato has furnished for all posterity the pattern of a new art form, the novel, viewed as the Aesopian fable raised to its highest power; a form in which poetry played the same subordinate role with regard to dialectic philosophy as that same philosophy was to play for many centuries with regard to theology.
真的，柏拉圖留給千秋萬世一種新的藝術形式的原型，小說的原型；這種形式可以說是無限提 高的伊索寓言，在這裏詩對於辯證哲學的從屬地位，正如後來數百年間哲學對於神學那樣，This, then, was the new status of poetry, and it was Plato who, under the pressure of daemonic Socrates, had brought it about.
這就是說，處於ancilla（奴婢）的地位，也就是柏拉圖在超凡入聖的蘇格拉底的驅使下強迫詩陷入的地位。
