悲劇的誕生The Birth Of Tragedy 第85期:誘惑人心的藝術

The fact is that for Socrates tragic art failed even to "convey the truth," although it did address itself to those who were "a bit backward,"

但是，在蘇格拉底看來，悲劇藝術甚至並沒有“說明真理”，更不用說能訴諸“沒有多大知識的人”了，

which is to say to non-philosophers: a double reason for leaving it alone.

所以爲哲學家所不取；他所以厭惡悲劇就有這兩重理由。

Like Plato, he reckoned it among the beguiling arts which represent the agreeable, not the useful,

象柏拉圖那樣，他認爲悲劇屬於誘惑人心的藝術之列，它只寫娛樂的而不寫有用的事情，

and in consequence exhorted his followers to abstain from such unphilosophical stimulants.

所以他要求他的弟子們切戒和毅然棄絕這些毫無哲理的誘惑。

His success was such that the young tragic poet Plato burned all his writings in order to qualify as a student of Socrates.

他成功了，年青的悲劇詩人柏拉圖就首先焚掉他的詩稿，然後做蘇格拉底的學生。

And while strong native genius might now and again manage to withstand the Socratic injunction, the power of the latter was still great enough to force poetry into entirely new channels.

然而，每當他的不可克服的天才起來反抗蘇格拉底的訓誡時，這些力量加上他的偉大性格的壓力，往往是這樣強大，足以強迫他的詩才流入新的前所未有的河道。