悲劇的誕生The Birth Of Tragedy 第21期:音樂的模仿對象

In folk poetry we find, moreover, the most intense effort of language to imitate the condition of music.

因此，我們在民歌創作中，看見語言緊張到極點，以模仿音樂。

For this reason Archilochus may be claimed to have ushered in an entirely new world of poetry, profoundly at variance with the Homeric; and by this distinction we have hinted at the only possible relation between poetry and music, word and sound.

所以，從阿奇洛科斯起，開始了抒情詩的新世界，它根本上是同荷馬史詩的世界相反的。這樣說來，我們已經指出了詩與音樂、詞句與聲音之間的關係：

Word, image, and idea, in undergoing the power of music, now seek for a kind of expression that would parallel it.

詞句，畫景，概念，現在找到了類似音樂的表現，而且感受到音樂的力量。

In this sense we may distinguish two main currents in the history of Greek verse, according as language is used to imitate the world of appearance or that of music.

在這意義上，我們可以判別希臘民族語言史上的兩個主潮，視乎他們的語言是模仿現象和想象的境界，抑或是模仿音樂的境界。

To understand more profoundly the significance of this distinction, let the reader ponder the utter dissimilarity of verbal color, syntax and phraseology in the works of Homer and Pindar.

你只須深究荷馬與品達的語言在色彩、句法、詞彙上的不同，便能瞭解這種對照的意義。

He then cannot fail to conjecture that in the interval there must have sounded the orgiastic flute notes of Olympus, which, as late as Aristotle's time, in the midst of an infinitely more complex music, still rouses men to wild enthusiasm, and which at their inception must have challenged all contemporaries to imitate them by every available poetic resource.

真的，顯而易見，在荷馬與品達之間的時期，奧林匹斯祕儀的笛聲定響徹希臘，甚至在亞里士多德時代，當音樂已經極其發展之時，這笛聲還能蕩氣迴腸，使人陶然若醉，而且在其發展的原始階段，確實曾激發當時人們的一切詩歌表現方法去模仿它。

I wish to instance in this connection a well-known phenomenon of our own era which our modish aestheticians consider most exceptionable.

我請您注意今日一種常見的，而爲我們美學所反對的現象。

We have noticed again and again how a Beethoven symphony compels the individual hearers to use pictorial speech--though it must be granted that a collocation of these various descriptive sequences might appear rather checkered, fantastic, even contradictory.

我們常常能體會到：一首貝多芬交響曲使得各個聽衆不得不用比喻來描述它，即使一篇樂章所產生的種種畫景在結構上是如何狂亂斑爛，甚至矛盾百出。

Small wonder, then, that our critics have exercised their feeble wit on these musical images, or else passed over the phenomenon--surely one worthy of further investigation--in complete silence.

搜索枯腸來評論這樣的結構，而獨忽略了一個確實值得闡明的現象，今日美學的能事盡在於此。

Even in cases where the composer himself has employed pictorial tags in talking about his work-- calling one symphony "Pastoral," one movement "Brook Scene" and another "Jolly Concourse of Peasants"--these tropes are properly reducible to purely musical elements rather than standing for actual objects expressed through music.

不錯，縱使這位音樂詩人用形象來說明他的製作，例如，他把某一交響曲命名爲“田園交響曲”，或者把其中一樂章稱爲“溪邊景色”，另一樂章稱爲“鄉人歡聚”。這些名稱也不過是從音樂產生的象徵標題而已，也許並不是指音樂所模仿的對象，

It is true that such musical representations can neither instruct us much concerning the Dionysian content of music nor yet lay claim to any distinctive value as images.

至於醉境音樂的內容，這些標題並沒有告訴我們甚麼。其實，放在別種畫題旁一比，它們也沒有甚麼特獨的價值。

But once we study this discharge of music through images in a youthful milieu, among a people whose linguistic creativity is unimpaired, we can form some idea of how atrophic folk song must have arisen and how a nation's entire store of verbal resources might be mobilized by means of that novel principle, imitation of the language of music.

現在，我們要把這音樂通過形象爆發的過程，讓與那些朝氣蓬勃、富有語言創造力的民族了。以便推測樂章式的民歌是怎樣形成的，一切語言表現力是怎樣由“模仿性音樂”這個新原理激發的。