悲劇的誕生The Birth Of Tragedy 第43期:神的難友

On this view the chorus of Greek tragedy, symbol of an entire multitude agitated by Dionysus, can be fully explained.

希臘悲劇的歌隊，興奮的酒神祭羣衆的象徵，照我們的解釋已獲得充分闡明。

Whereas we who are accustomed to the role of the chorus in modem theater, especially opera, find it hard to conceive how the chorus of the Greeks should have been older, more central than the dramatic action proper (although we have clear testimony to this effect) and whereas we have never been quite able to reconcile with this position of importance the fact that the chorus was composed of such lowly beings as--originally--goatlike satyrs; and whereas, further, the orchestra in front of the stage has always seemed a riddle to us.

然而，因爲我們習慣了現代舞臺尤其是歌劇的歌隊的功能，我們就不能瞭解；爲甚麼，照傳統的說法，希臘悲劇的歌隊比“劇情”本身更古遠，更根本，真的，更重要呢？再則，既然歌隊不過是卑微的僕從的角色，真的，初時不過是由扮成羊形的薩提兒組成，我們就不能同意歌隊的地位優越和來源古遠這種傳統說法。況且景前的歌池對我們還是一個謎。

We now realize that the stage with its action was originally conceived as pure vision and that the only reality was the chorus, who created that vision out of itself and proclaimed it through the medium of dance, music, and spoken word.

雖然如此，我們終於達到這樣的認識；景和劇情不過被當作一種幻象，而唯一的“現實”正是歌隊，它自動產生這幻想，而以舞蹈、音樂、語言等一切象徵手段來歌頌它。

Since, in this vision, the chorus beholds its lord and master Dionysus, it remains forever an attending chorus, it sees how the god suffers and transforms himself, and it has, for that reason, no need to act.

歌隊在幻覺中看見他們的君王和主人酒神狄奧尼索斯，所以他們始終是僕從身份的歌隊，他們看見這位神靈如何受過苦難，如何被人稱頌，所以他們自己並無行爲。

But, notwithstanding its subordination to the god, the chorus remains the highest expression of nature, and, like nature, utters in its enthusiasm oracular words of wisdom.

然而，雖則他們對神的態度始終是僕從的態度，可是他們畢竟表達出性靈底最高的、醉境的情緒；因此，他們象性靈那樣，在心蕩神馳之時說出了神的託喻和至理名言。

Being compassionate as well as wise, it proclaims a truth that issues from the heart of the world.

他們是神的難友，同時也是從宇宙心靈裏道破真理的智者。

Thus we see how that fantastic and at first sight embarrassing figure arises, the wise and enthusiastic satyr who is at the same time the "simpleton" as opposed to the god.

由此便產生這個幻想的，似乎不登大雅之堂的形象，聰明而又有靈感的薩提兒的形象。薩提兒比起酒神來可以說是“啞角”。

The satyr is a replica of nature in its strongest tendencies and at the same time, a herald of its wisdom and art.

他是性靈及其最強烈的衝動之寫照，是性靈本身之象徵，同時也是發乎性靈的藝術和幻想之宣令使。

He combines in his person the roles of musician, poet, dancer and visionary.

他一身兼爲音樂家，詩人，舞蹈家和夢想家。