悲劇的誕生The Birth Of Tragedy 第20期:民歌

Scholarship has discovered in respect of Archilochus that he introduced folk song into literature, and that it was this feat which earned him the unique distinction of being placed beside Homer.

關於阿奇洛科斯，學者們的研究發現他曾把民歌傳入文學中，由於這功績，希臘人普遍地評定他值得同荷馬並列的特殊地位。

Yet what does folk song represent in contrast to epic poetry, which is wholly Apollinian?

但是，民歌同夢神型敘事詩對照之下是甚麼呢？

Surely the classical instance of a union between Apollinian and Dionysian intentions.

它豈不是夢神與酒神相結合的Perpetuum　vestigum（永恆的跡象）嗎？

Its tremendous distribution, as well as its constant proliferation wherever we look, attests the strength of that dual generative motive in nature: a motive which leaves its traces in folk song much the way the orgiastic movements of a nation leave their traces in music.

民歌廣泛流行於所有民族之間，而且不斷滋乳蕃生，日益壯大，足證性靈的這種兩重性藝術衝動是多麼強大，它在民歌中留下痕跡，

Nor should it be difficult to show by historical evidence that every period which abounded in folk songs has, by the same token, been deeply stirred by Dionysian currents.

正如一個民族的祕儀活動賴其音樂而流傳後世。真的，歷史可以指證：民歌最豐富的時代往往是受酒神祭潮流衝擊得最猛烈的時代。

Those currents have long been considered the necessary substratum, or precondition, of folk poetry.

我們應該常常把這浪潮當作民歌的根源和先決條件。

But first of all we must regard folk song as a musical mirror of the cosmos, as primordial melody casting about for an analogue and finding that analogue eventually in poetry.

然而，我們要首先把民歌當作反映世界的音樂鏡子，當作是原始曲調現在找到對應的夢境而把它表現爲詩歌。

Since melody precedes all else, it may have to undergo any number of objectifications, such as a variety of texts presents.

所以曲調是第一性的和普遍性的。從而可以在多種歌詞中受到多種客觀化。

But it is always, according to the naive estimation of the populace, much superior in importance to those texts.

再則，照民間的天真的想法，曲調是最重要最必需的因素。

Melody gives birth to poetry again and again: this is implied by the atrophic form of folk song.

曲調自動地產生詩歌，而且是不斷地新陳代謝。民歌的樂章形式就證明是如此。

for a long time I wondered at this phenomenon, until finally the following explanation offered itself.

這一現象，我以前往往愕然不解，及後我終於找到如下的說明。

If we examine any collection of folk poetry--for example, Des Knaben Wunderhorn--in this light, we shall find countless examples of melody generating whole series of images, and those images, in their varicolored hues, abrupt transitions, and headlong forward rush, stand in the most marked contrast to the equable movement, the calm illusion, of epic verse.

凡是以這原理來研究一部民歌集子（例如，“兒童之魔笛）的人，將會發現無數的例子：不斷滋生的曲調怎樣向周圍撒播如畫的火花，五彩斑爛，瞬息萬變，有如天花亂墜，表現出細水長流的史詩所完全沒有的一種力量。

Viewed from the standpoint of the epic the uneven and irregular imagery of folk song becomes quite objectionable.

從史詩的角度來看，抒情詩的既不均衡又不整齊的畫景是不值得一顧的，

Such must have been the feeling which the solemn rhapsodists of the Apollinian rites, during the age of Terpander, entertained with regard to popular lyric effusions.

忒潘德（Ter－pander）時代阿波羅祭的莊嚴的史詩朗誦者就是這樣宣判它的罪狀。