悲劇的誕生The Birth Of Tragedy 第64期:人在死後仍有理性

When after all a new genre sprang into being which honored tragedy as its parent, the child was seen with dismay to bear indeed the features of its mother, but of its mother during her long death struggle.

然而，在悲劇死後，一種新的藝術繁盛起來，它奉悲劇爲先妣，爲主母。人們詫異地覺察到她酷肖她母親的容貌，可是那是她長久在垂死掙扎中的愁容。

The death struggle of tragedy had been fought by Euripides, while the later art is known as the New Attic comedy.

歐裏庇德斯親身經歷過悲劇的垂死掙扎之苦。這種後起的藝術叫做阿提刻新喜劇。

Tragedy lived on there in a degenerate form, a monument to its painful and laborious death.

悲劇的蛻化的形式還留存在它上面，好象是悲劇非常悲慘的暴卒之紀念碑！

In this context we can understand the passionate fondness of the writers of the new comedy for Euripides.

從這種淵源關係，不難理解，爲甚麼新喜劇的詩人們對歐裏庇德斯抱着這樣熱情的傾慕。

Now the wish of Philemon--who was willing to be hanged for the pleasure of visiting Euripides in Hades, providing he could be sure that the dead man was still in possession of his senses--no longer seems strange to us.

所以，我們也不再詫異斐勒蒙（Philemon）的願望：他說只要他能夠在冥土中拜訪歐裏庇德斯，他寧願立刻自諡，但願他能確實知道人在死後仍有理性。

If one were to attempt to say briefly and merely by way of suggestion what Menander and Philemon had in common with Euripides, and what they found so exemplary and exciting in him,

然而，如果我們只要簡單扼要地說明，而不要求窮其究竟，歐裏庇德斯與米南 德（Menander）及斐勒蒙有甚麼共同的地方，是甚麼使他們這樣興奮地去模仿；

one might say that Euripides succeeded in transporting the spectator onto the stage.

那末，我們只須指出：歐裏庇德斯把觀衆帶上舞臺。