悲劇的誕生The Birth Of Tragedy 第9期:天人合一

It should have become apparent by now that the harmony with nature which we late comers regard with such nostalgia, and for which Schiller has coined the cant term naïve, is by no means a simple and inevitable condition to be found at the gateway to every culture, a kind of paradise.

到此，我們應該指出：現代人所渴望去靜觀的這種和諧，亦即人與自然的合一（席勒使用“素樸”這術語來表示這意境），絕不是這樣簡單的，自然自發，彷彿難免的一種境界，也不是在任何一種文化門前必然見到的人間樂園。

Such a belief could have been endorsed only by a period for which Rousseau's Emile was an artist and Homer just such an artist nurtured in the bosom of nature.

只有浪漫主義時代才相信這點；當時，人們想象藝術家有如盧梭的愛彌兒。妄想在荷馬身上發現象愛彌兒那樣在自然懷抱中養育出來的藝術家。

Whenever we encounter "naïveté" in art, we are face to face with the ripest fruit of Apollinian culture--which must always triumph first over titans, kill monsters, and overcome the somber contemplation of actuality, the intense susceptibility to suffering, by means of illusions strenuously and zestfully entertained.

凡在藝術上發現有“素樸”的場合，我們都認爲這是夢神文化的最大效果，這種文化往往必須首先推翻原始的鐵旦王國，殺掉魔怪，然後憑它的有力的幻象和可愛的幻想，戰勝了靜觀世界底陰森可怕的深淵和悲天憫人的敏感。

But how rare are the instances of true naïveté, of that complete identification with the beauty of appearance!

可是，我們就甚少能達到這種心醉神迷於假象之美的素樸境界，荷馬的崇高真是不可言詮：

It is this achievement which makes Homer so magnificent--Homer, who, as a single individual, stood to Apollinian popular culture in the same relation as the individual dream artist to the oneiric capacity of a race and of nature generally.

他個人對待夢神型的民間文化，正如個別夢境藝術家對待一般人民與自然的夢想能力那樣。

The naïveté of Homer must be viewed as a complete victory of Apollinian illusion.

所謂荷馬的“素樸”，只能理解爲夢境幻想的絕對勝利，

Nature often uses illusions of this sort in order to accomplish its secret true goal is covered over by a phantasm.

它是自然爲了達到目的而常常使用的一種幻想。

We stretch out our hands to the latter, while nature, aided by our deception, attains the former.

幻象掩障了真正的目的，當你伸手去把握這幻象時，自然就借你的幻想達到它的目的。

In the case of the Greeks it was the will wishing to behold itself in the work of art, in the transcendence of genius; but in order so to behold itself its creatures had first to view themselves as glorious, to transpose themselves to a higher sphere, without having that sphere of pure contemplation either challenge them or upbraid them with insufficiency.

在希臘人，“意志”要求在天才和藝術境界的美化作用中靜觀自己；芸芸衆生爲了頌揚自己，必須首先覺得是頌揚；他們必須在更高境界裏再看見自己，而無須這完美的靜觀世界來督促或責備。

It was in that sphere of beauty that the Greeks saw the Olympians as their mirror images; it was by means of that aesthetic mirror that the Greek will opposed suffering and the somber wisdom of suffering which always accompanies artistic talent. As a monument to its victory stands Homer, the naïve artist.

這就是美之境界，希臘人在那裏見到反映自己的面影——奧林匹斯神靈。憑藉這種美之反映，希臘的“意志”就能對抗它在藝術方面的悲天憫人的才能和智慧；而荷馬這位素樸藝術家便巍峨矗立，象一個凱旋碑！