悲劇的誕生The Birth Of Tragedy 第73期:如何達到悲劇的效果

Let us now look more closely at the Socratic tendency by means of which Euripides fought and conquered Aeschylean tragedy.

現在，讓我們進一步考察這種蘇格拉底傾向。歐裏庇德斯就是以它爲武器來鬥爭，而戰勝埃斯庫羅斯的悲劇的。

What, under the most auspicious conditions, could Euripides have hoped to effect in founding his tragedy on purely un-Dionysian elements?

歐裏庇德斯的計劃，就其實施的最高理想來說，是把戲曲只放在非酒神傾向的基礎上；那末，我們就要追問，其目的何在呢？

Once it was no longer begotten by music, in the mysterious Dionysian twilight, what form could drama conceivably take?

試問，如果戲曲不是在酒神祭的神祕暮色時從音樂胎中誕生，此外還有甚麼形式的戲曲呢？

Only that of the dramatized epic, an Apollinian form which precluded tragic effect.

只有史詩劇了吧。但是，在史詩的夢境藝術領域裏，悲劇的效果當然是達不到的。

It is not a question here of the events represented.

因爲悲劇效果與史詩事蹟的題材是不相配合的。

I submit that it would have been impossible for Goethe, in the fifth act of his projected Nausicäa, to render tragic the suicide of that idyllic being: the power of the epic Apollinian spirit is such that it transfigures the most horrible deeds before our eyes by the charm of illusion, and redemption through illusion.

真的，我可以說，歌德在他籌劃的“瑙絲嘉雅”一劇中，就不可能把第五幕末場這牧歌人物的自殺寫得富有悲劇效果。夢境史詩的表現能力，是非常偉大的，它可以憑藉假象的快感和假象的救濟，使得最可怕的事物在我們眼前化爲幻境。

The poet who writes dramatized narrative can no more become one with his images than can the epic rhapsodist.

但是史詩劇詩人，正如史詩朗誦者那樣，就不能與詩中情景完全融合了；

He too represents serene, wide eyed contemplation gazing upon its images.

他始終抱着冷靜的、無動於中的靜觀態度，冷眼旁觀面前的景象。

The actor in such dramatized epic remains essentially a rhapsodist; the consecration of dream lies upon all his actions and prevents him from ever becoming in the full sense an actor.

同樣，史詩劇的演員歸根結蒂還是一個朗誦者；內心夢境的情熱盡在他的一切行動上，所以他並不全是一個演員。