悲劇的誕生The Birth Of Tragedy 第40期:戲劇的原始現象

At bottom the aesthetic phenomenon is quite simple:

審美現象畢竟是簡單的：

All one needs in order to be a poet is the ability to have a lively action going on before one continually, to live surrounded by hosts of spirits.

只要一個有能力不斷見到周圍的活躍生機，不斷生活在一羣精靈的包圍中，他便是詩人；

To be a dramatist all one needs is the urge to transform oneself and speak out of strange bodies and souls.

只要一個人能夠感到有使自己變成別人，並且借用其肉體和心靈來說話的衝動，他便是戲劇家。

Dionysian excitation is capable of communicating to a whole multitude this artistic power to feel itself surrounded by, and one with, a host of spirits.

酒神祭的興奮，能夠使一整批人都參予這種藝術才能。使他們見到自己周圍是一羣精靈，而又知道自己與他們心心相印。

What happens in the dramatic chorus is the primary dramatic phenomenon:

悲劇歌隊的這種體驗，是戲劇的原始現象:

projecting oneself outside oneself and then acting as though one had really entered another body, another character.

你見到自己就在你眼前起了變化，然後你行動起來，好象你真的佔有別人的身體和別人的性格似的。

This constitutes the first step in the evolution of drama.

這種體驗發生在戲劇發展的開端之時。

This art is no longer that of the rhapsodist, who does not merge with his images but, like the painter, contemplates them as something outside himself; what we have here is the individual effacing himself through entering a strange being.

在這場合，歌隊和詩朗誦者就有所不同，朗誦者並不和他的形象融合爲一體，而是像畫家那樣以靜觀的眼光置身於事外來觀察他們。