悲劇的誕生The Birth Of Tragedy 第76期:聲名狼藉的“神機妙算”

Whatever did not portend pathos was seen as objectionable.

凡是不爲激情而設的，就被視爲不足取。

The greatest obstacle to the spectator's most intimate participation in those scenes would be any missing link in the antecedent action:

然而，妨礙觀衆欣賞這種場面的最大阻力，是作者未曾向觀衆交代一個關鍵，或者劇情的前因後果中有一個脫節。

so long as the spectator had to conjecture what this or that figure represented, from whence arose this or that conflict of inclinations and intentions, he could not fully participate in the doings and sufferings of the protagonists, feel with them and fear with them.

既然觀衆必須揣摩這個那個人物有何用意，或者這種那種傾向和企圖之衝突有何前因，他就不可能全神灌注在主角的行爲和苦難上，也不可能提心吊膽地與劇中人同甘苦共患難。

The tragedy of Aeschylus and Sophocles had used the subtlest devices to furnish the spectator in the early scenes, and as if by chance, with Al} the necessary information.

埃斯庫羅斯和索福克勒斯的悲劇，運用最巧妙的藝術手段，在頭幾場中就把了解劇情所必需的開發線索，好象是無意中交到觀衆手上：c

They had shown an admirable skill in disguising the necessary structural features and making them seem accidental.

這是高明的藝術家所見長的一個特點，它彷彿遮掩了必不可少的公式，而使之彷彿是偶然流露。

All the same, Euripides thought he noticed chat during those early scenes the spectators were in a peculiar state of unrest

然而，歐裏庇德斯仍然認爲，他看出：觀衆在頭幾場中，尤其焦急要解答劇情的前因後果，

so concerned with figuring out the antecedents of the story chat the beauty and pathos of the exposition were lost on them.

那麼他就勢必忽略了詩的美和情節的激情。

For this reason he introduced a prologue even before the exposition, and put it into the mouth of a speaker who would command absolute trust.

所以，歐裏庇德斯在情節面前加上序幕，借用一個可以信賴的人的口來交代劇情：

Very often it was a god who had to guarantee to the public the course of the tragedy and so remove any possible doubt as to the reality of the mydh;

這人往往是一位神靈，他彷彿要對觀衆保證劇中的情節，消除人們對於神話之真實性的一切懷疑，

exactly as Descartes could only demonstrate the reality of the empirical world by appealing to God's veracity, his inability to tell a lie.

正象笛卡兒要證明經驗世界之真實性，就只能訴諸神之誠實無欺。

At the end of his drama Euripides required the same divine truthfulness to act as security, so to speak, for the future of his protagonists.

歐裏庇德斯在悲劇收場上也曾一再使用這種神靈的誠實，以便對觀衆保證劇中英雄的歸宿；

This was the function of the ill-famed deuex ma china.

這就是聲名狼藉的“神機妙算”（Deuex ma china）的任務。

Between the preview of the prologue and the preview of the epilogue stretched the dramatic lyric present, the drama proper.

由此可見，這種戲曲抒情的現在，即“悲劇”本身，是處在史詩的回顧與史詩的展望之間。