悲劇的誕生The Birth Of Tragedy 第74期:多重人格的悲劇詩人
But what relationship can be said to obtain between such an ideal Apollinian drama and the plays of Euripides?
The same as obtains between the early solemn rhapsodist and that more recent variety described in Plato's Ion:
正如年青一輩的朗誦者對舊時代人嚴肅的朗誦者那樣罷了。在柏拉圖的“伊安篇”中，一個青年朗誦者講及自己的心情："When I say something sad my eyes fill with tears; if, however, what I say is terrible and ghastly, then my hair stands on end and my heart beats loudly."
“當我講到悲哀的事情，我滿眶是熱淚；當我講到可驚可怖的事情，我毛骨悚然，心臟悸動。”
Here there is no longer any trace of epic self forgetfulness, of the true rhapsodist's cool detachment, who at the highest pitch of action, and especially then, becomes wholly illusion and delight in illusion.
在這裏，我們再也見不到史詩對假象的神往，也見不到一個真正演員的無動於衷的冷靜，這種演員達到最高演藝時，往往成爲一種假象和假象的快感。Euripides is the actor of the beating heart, with hair standing on end.
歐裏庇德斯屬於那種心悸發聳的演員：He lays his dramatic plan as Socratic thinker and carries it out as passionate actor.
他計劃時是蘇格拉底式的思想家；他實施時是動情的演員。So it happens that the Euripidean drama is at the same time cool and fiery, able alike to freeze and consume us.
不論在計劃或實施，他也是一個純粹藝術家。所以，歐裏庇德斯的戲曲是又冷又熱的東西，它既能凍結，也能燃燒；It cannot possibly achieve the Apollinian effects of the epic, while on the other hand it has severed all connection with the Dionysian mode;
它不能達到夢境史詩的效果，但另一方面它儘可能去除醉境情緒的成份。so that in order to have any impact at all it must seek out novel stimulants which are to be found neither in the Apollinian nor in the Dionysian realm.
所以，爲了能夠產生效果，它就必須使用一種新的刺激，那是都不在夢神型和酒神型這兩種特殊藝術衝動的範圍內的。Those stimulants are, on the one hand, cold paradoxical ideas put in the place of Apollinian contemplation, and on the other fiery emotions put in the place of Dionysian transports.
這些新刺激就是以冷靜的奇思代替夢境的靜觀，以如火的熱情代替醉境的陶醉，These last are splendidly realistic counterfeits, but neither ideas nor affects are infused with the spirit of true art.
況且這些思想和熱情都是模仿得極其忠實，絕不是瀰漫着藝術氣氛的。
