悲劇的誕生The Birth Of Tragedy 第10期:夢境的啓發
We can learn something about that naïve artist through the anAlogy of dream.
We can imagine the dreamer as he calls out to himself, still caught in the illusion of his dream and without disturbing it, "
試設想一個做夢的人；他沉湎於夢境而不願驚擾其夢，對自己說：This is a dream, and I want to go on dreaming,"
“是夢吧，我索性夢下去呵！”
and we can infer, on the one hand, that he takes deep delight in the contemplation of his dream,
我們由此可以推斷：他在夢的靜觀中體驗到一種深刻的內心快感；on the other, that he must have forgotten the day, with its horrible importunity, so to enjoy his dream.
另一方面，爲了能在靜觀中心滿意足地夢下去，他必須完全忘掉白晝現實以及迫人的憂患。Apollo, the interpreter of dreams, will furnish the clue to what is happening here.
所以，憑解夢神阿波羅的指導，我們對這一切現象可以作如下的闡明：Although of the two halves of life--the waking and the dreaming--the former is generally considered not only the more important but the only one which is truly lived, I would, at the risk of sounding paradoxical, propose the opposite view.
雖然在生活的兩面，在醒和夢中，前者確實似乎是無比地更可取，更重要、更可貴、更值得體味，而且是唯一身受的生活；然而，若論我們身爲其現象的存在之神祕根源，我坦白地主張我們對於夢也應予以相當的重視。The more I have come to realize in nature those omnipotent formative tendencies and, with them, an intense longing for illusion, the more I feel inclined to the hypothesis that the original Oneness, the ground of Being, ever suffering and contradictory, time and again has need of rapt vision and delightful illusion to redeem itself.
雖則這似乎是奇談妙論。因爲我在性靈方面愈覺察出這種萬能的藝術衝動，見到它力求表現爲假象並且通過假象而得救的熱情，我便愈覺得有必要作如下的形而上學假設：真正的存在和太一，這種永劫和矛盾，同樣也需要醉心的幻影，快樂的假象，不斷地來救濟它。Since we ourselves are the very stuff of such illusions, we must view ourselves as the truly non-existent, that is to say, as a perpetual unfolding in time, space, and causality--what we label "empiric reality."
我們既然置身在這種假象中，而且是由它構成的，就勢必覺得它是真正的虛無，是時間、空間、因果的無窮變幻，換句話說，是經驗的實在。
