悲劇的誕生The Birth Of Tragedy 第14期:神祕的姻緣

Up to this point I have developed at some length a theme which was sounded at the beginning of this essay: how the Dionysian and Apollinian elements, in a continuous chain of creations, each enhancing the other, dominated the Hellenic mind;

到此爲止，我只發揮了我在本文章首的意見，即酒神與夢神兩類型文化，新陳代謝而相得益彰，始終統轄着希臘天才。

how from the Iron Age, with its battles of Titans and its austere popular philosophy, there developed under the aegis of Apollo the Homeric world of beauty; how this "naive" splendor was then absorbed once more by the Dionysian torrent, and how, face to face with this new power, the Apollinian code rigidified into the majesty of Doric art and contemplation.

在夢神的愛美衝動統治下，荷馬世界從青銅時代及其鐵旦神統戰爭和嚴厲的民間哲學發展而成；荷馬的“素樸”的繁榮又被酒神文化的滔滔狂潮淹沒了；於是夢神文化起來反抗這種新勢力，終於達到多里斯藝術和多里斯世界觀的威嚴。

If the earlier phase of Greek history may justly be broken down into four major artistic epochs dramatizing the battle between the two hostile principles, then we must inquire further (lest Doric art appear to us as the acme and final goal of all these striving tendencies) what was the true end toward which that evolution moved.

這樣，如果把希臘的古代史分爲四大藝術階段，我們現在就有必要進一步去探索這些發展和進步的終極目的，否則我們也許以爲那最後達到的時代，多里斯藝術的時代，就是這些藝術衝動的高峯和歸宿。

And our eyes will come to rest on the sublime and much lauded achievement of the dramatic dithyramb and Attic tragedy, as the common goal of both urges; whose mysterious marriage, after long discord, ennobled itself with such a child, at once Antigone and Cassandra.

到了那時代，阿提刻悲劇和酒神祭戲曲的崇高而著名的藝術作品出現在我們眼前，它們是這兩種傾向的共同目標；久經波折之後，這兩種傾向終於慶賀這段神祕的姻緣，產生了這個孩子——她既是安提戈妮（Antigone），又是嘉珊德拉（Cassandra）。