悲劇的誕生The Birth Of Tragedy 第30期:悲劇的慰藉

Perhaps we can gain a starting point for this inquiry by claiming that the satyr, that fictive nature sprite, stands to cultured man in the same relation as Dionysian music does to civilization.

我試提出這樣的命題，這種假設的自然生靈薩提兒之於有教養的人，正如酒神祭音樂之於希臘文明那樣；我們也許從這裏找到研究的起點。

Richard Wagner has said of the latter that it is absorbed by music as lamplight by daylight.

關於希臘文明，理查·瓦格納（RichardWagnner）曾說過：音樂奪去了它的光輝，正如太陽之下爝火無光。

In the same manner, I believe, the cultured Greek felt himself absorbed into the satyr chorus, and in the next development of Greek tragedy state and society, in fact all that separated man from man, gave way before an overwhelming sense of unity which led back into the heart of nature.

同樣，我相信，有教養的希臘人在薩提兒歌隊面前會自慚形穢，而且，在酒神祭悲劇的直接影響下，城邦與社會，總之，人與人之間的隔閡，都消除了，讓給一種溯源於性靈的強烈的萬衆一心之感來統治。

The metaphysical solace (with which, I wish to say at once, all true tragedy sends us away) that, despite every phenomenal change life is at bottom indestructibly joyful and powerful, was expressed most concretely in the chorus of satyrs, nature beings who dwell behind all civilization and preserve their identity through every change of generations and historical movement.

在這裏，我已經指出了，每部真正的悲劇總留給我們一種超脫的慰藉，使我們感到，儘管萬象流動不居，生活本身到底是牢不可破，而且可喜可愛。這點慰藉明明白白地體現爲薩提兒歌隊，爲自然人歌隊，他們彷彿根深蒂固地生存在每個民族文化的背景中，儘管時代遷移，民族更替，他們還是亙古長存，始終不變。