悲劇的誕生The Birth Of Tragedy 第84期:巨靈之眼
Let us now imagine Socrates' great Cyclops' eye--that eye which never glowed with the artist's divine frenzy--turned upon tragedy.
試設想蘇格拉底的巨靈之眼凝視着悲劇，可是這眼中並無藝術靈感的醉心狂熱的光輝；
Bearing in mind that he was unable to look with any pleasure into the Dionysian abysses, what could Socrates see in that tragic art which to Plato seemed noble and meritorious?
試設想他的眼未嘗願意以愉快的心情來觀照醉境的深淵；——那麼，它在柏拉圖之所謂“崇高而又極受讚美的”悲劇藝術中定必只能窺見甚麼呢？
Something quite abstruse and irrational, full of causes without effects and effects seemingly without causes, the whole texture so checkered that it must be repugnant to a sober disposition, while it might act as dangerous tinder to a sensitive and impressionable mind.
顯然是一種有因無果，有果無因的，不合理的東西罷了；況且，一切悲劇是這樣雜亂無章，它對於愛好沉思的人定必引起反感，而對於多愁善感的心靈，定必是危險的火種。
We are told that the only genre of poetry Socrates really appreciated was the Aesopian fable.
我們知道，蘇格拉底只能瞭解一種詩——伊索寓言，
This he did with the same smiling complaisance with which honest Gellert sings the praise of poetry in his fable of the bee and the hen:
而這種詩他無疑是帶着微笑的默許來欣賞的，正如在“蜜蜂和母雞”這寓言中老好人格爾伯特讚美着詩歌那樣：
Poems are useful: they can tell
從我你看到了，多麼有利；
The truth by means of parable
對着沒有多大知識的人，
To those who are not very bright.
用一個寓言來說明真理。
