悲劇的誕生The Birth Of Tragedy 第78期:死於法庭酒神侍女之手

Even the divine Plato speaks of the creative power of the poet for the most part ironically and as being on a level with the gifts of the soothsayer and interpreter of dreams, since according to the traditional conception the poet is unable to write until reason and conscious control have deserted him.

同樣，英明的柏拉圖就多半隻用諷刺的態度談論詩人的創作能力，因爲這是一種不自覺的識力；他把詩人的能力與預言家和解夢人的天賦才能同列，這就是說，詩人在失去自覺忘掉理性之前，是不會有創作能力的。

Euripides set out, as Plato was to do, to show the world the opposite of the "irrational" poet; his aesthetic axiom, "whatever is to be beautiful must be conscious" is strictly parallel to the Socratic "whatever is to be good must be conscious."

歐裏庇德斯企圖對世人指出這種“不知不覺的”詩人之對立面，正象柏拉圖曾經指出那樣；我也曾說過，他的審美原則“唯知爲美”，可以媲美蘇格拉底的格言“唯知是德”。

We can hardly go wrong then in calling Euripides the poet of aesthetic Socratism.

因此，我們不妨認爲，歐裏庇德斯是審美蘇格拉底主義的詩人。

But Socrates was precisely that second spectator, incapable of understanding the older tragedy and therefore scorning it, and it was in his company that Euripides dared to usher in a new era of poetic activity.

然而，蘇格拉底是第二個觀衆，他不瞭解舊悲劇。因而不尊重它，歐裏庇德斯同他聯合起來就敢於做一種新藝術的先驅者。

If the old tragedy was wrecked' aesthetic Socratism is to blame, and to the extent that the target of the innovators was the Dionysian principle of the older art we may call Socrates the god's chief opponent, the new Orpheus who, though destined to be torn to pieces by the maenads of Athenian judgment, succeeded in putting the overmastering god to flight.

既然一切舊悲劇都在這種新藝術上碰得粉碎，那末審美蘇格拉底主義乃是一種毀滅性的原理；但是，既然這鬥爭的矛頭指向舊悲劇中的醉境因素，那末我們就不妨把蘇格拉底看作酒神的敵手。他是起來反抗酒神的新奧斐斯，雖則他命定要被雅典法庭的酒神侍女們撕死，但是他也不得不把這位強大的神靈趕走。

The latter, as before, when he fled from Lycurgus, king of the Edoni, took refuge in the depths of the sea; that is to say, in the flood of a mystery cult that was soon to encompass the world.

想當年，酒神受伊多尼王呂庫爾戈斯（Lyourgus）迫害而逃走時，他就藏身在海洋的深處得以倖免，這就是說，他潛入祕儀崇拜的神祕洪流中，後來這洪流逐漸氾濫全世界。