悲劇的誕生The Birth Of Tragedy 第53期:神與人是互相依存的
In considering the extraordinary boldness with which Aeschylus places the Olympian world on his scales of justice,
we must remember that the profound Greek had an absolutely stable basis of metaphysical thought in his mystery cults and that he was free to discharge all his skeptical velleities on the Olympians.
而且他們的種種懷疑論有時甚或向奧林匹斯神靈突然進攻；那麼，埃斯庫羅斯這樣大膽地把奧林匹斯神界放在他的正義天秤上來衡量，那就不足爲奇了。The Greek artist, especially, experienced in--respect of these divinities an obscure sense of mutual dependency,
尤其是希臘的藝術家，在想到這些神靈時，不免模糊地感到神與人是互相依存的；
a feeling which has been perfectly symbolized in the Prometheus of Aeschylus.
正是埃斯庫羅斯的“普羅密修斯”象徵着這種感想，The titanic artist was strong in his defiant belief that he could create men and, at the least, destroy Olympian gods;
這位鐵旦藝神覺得自己具有果敢的信心，相信自己能夠創造人類而且最低限度能夠毀滅神靈，this he was able to do by virtue of his superior wisdom, which, to be sure, he must atone for by eternal suffering.
憑他那高度的聰明是可以做到的，當然他因此就不得不永遠受苦來贖罪。The glorious power to do, which is possessed by great genius, and for which even eternal suffering is not too high a price to pay，
偉大天才的這句壯語“我能”，即使以永恆痛苦爲代價來換取，也是值得的，the artist's austere pride--is of the very essence of Aeschylean poetry,
這是藝術家的嚴肅的自豪感：這就是埃斯庫羅斯的劇詩的精華和靈魂。while Sophocles in his Oedipus intones a paean to the saint.
另一方面，索福克勒斯在“奧狄浦斯”一劇中則高唱聖者的凱旋歌的前奏曲。But even Aeschylus' interpretation of the myth fails to exhaust its extraordinary depth of terror.
然而，埃斯庫羅斯這樣解釋這個神話，還未能說盡它深不可測的恐怖；
