悲劇的誕生The Birth Of Tragedy 第58期:肢解而死

And in fact they must have felt this way.

事實上，古希臘人確實似乎有此感想；

The Platonic distinction between the idea and the eidolon idol is deemed rooted in the Greek temperament.

因爲，一般地說，柏拉圖對“理念”（Idea）與“映象”（eidolon）或形象的區別和評價，是根深蒂固在希臘人心中的。

If we wished to use Plato's terminology we might speak of the tragic characters of the Greek stage somewhat as follows:

借用柏拉圖的術語來說，我們不妨這樣論述希臘的舞臺形象，

the one true Dionysus appears in a multiplicity of characters, in the mask of warrior hero, and enmeshed in the web of individual will.

真實的酒神以各種姿態出現，化裝爲一個彷彿陷於個人意志之網羅中的戰鬥英雄。

The god ascends the stage in the likeness of a striving and suffering individual.

在這場合，這個出場的酒神其語言行動都好象一個錯誤、掙扎、受苦的人。

That he can appear at all with this clarity and precision is due to dream interpreter Apollo, who projects before the chorus its Dionysian condition in this analogical figure.

一般地說，他表現得像史詩人物那樣明確而清楚，這不得不歸功於夢神阿波羅，因爲夢神通過這象徵現象對歌隊指出它的酒神心情。

Yet in truth that hero is the suffering Dionysus of the mysteries.

然而，其實這個英雄就是祕儀所崇奉的酒神，是曾親身經歷個性化之痛苦的神。

He of whom the wonderful myth relates that as a child he was dismembered by Titans now experiences in his own person the pains of individuation, and in this condition is worshipped as Zagreus.

據一個神祕的神話說，酒神兒時曾被鐵旦神族肢解而死，就在這情況下被崇奉爲狄奧尼索斯·宰割裂屍（Zagreus）；