悲劇的誕生The Birth Of Tragedy 第71期:另一個觀衆的名字

Before giving a name to that other spectator, let us stop a moment and call to mind what we have said earlier of the incommensurable and discrepant elements in Aeschylean tragedy.

在指出這另一個觀衆的名字之前，讓我們稍停片刻。回憶一下上文講過的，埃斯庫羅斯悲劇本質中一些不調和與不可測的因素所產生的印象。

Let us recollect how strangely we were affected by the chorus and by the tragic hero of a kind of tragedy which refused to conform to either our habits or our tradition--until,

試想我們自己對悲劇歌隊和悲劇英雄所感的詫異，我們總覺得，這兩者同我們的習慣，甚至同傳統，都是不調協的，

that is, we discovered that the discrepancy was closely bound up with the very origin and essence of Greek tragedy, as the expression of two interacting artistic impulses, the Apollinian and the Dionysian.

直到我們重新發現這種二重性原來是希臘悲劇的根源和本質，是夢神型與酒神型兩種彼此交錯的藝術衝動之表現。

Euripides' basic intention now becomes as clear as day to us: it is to eliminate from tragedy the primitive and pervasive Dionysian element,

從悲劇中排除這種原始的萬能的酒神成份，並且在非醉境的藝術、道德觀和世界觀上建立一種新的純粹的因素：

and to rebuild the drama on a foundation of non-Dionysian art, custom and philosophy.

這就是現在瞭如指掌地揭露在我們眼前的歐裏庇德斯的傾向。