悲劇的誕生The Birth Of Tragedy 第148 審美快感

And the myth should show us this life in order to thus transfigure it? But if not, in what then lies the aesthetic pleasure with which we let these images, too, pass before us?

那麼，神話指示出這種生活，是為了替我們美化它嗎？否則，我們將如何解釋，甚至這樣的形象也帶給我們審美快感呢？

I asked about the aesthetic pleasure, though I know full well that many of these images also produce at times a moral delight, for example, under the form of pity or moral triumph.

我討論的是審美快感，我也深深知道：除了審美快感以外，許多這類形象間或還能喚起一種道德快感，例如憐憫，或道義勝利之類。

But those who would derive the effect of the tragic solely from these moral sources--which, to be sure, has been the custom in aesthetics all too long--should least of all believe that they have thus accomplished something for art, which above all must demand purity in itssphere.

然而，如果你認為悲劇效果完全出自這種道德根源，像許久以來在美學上所認為當然如此，那末，你切莫以為，你因此就對藝術頗有貢獻。因為藝術首先必須堅持它範圍內的純粹性。

If you would explain the tragic myth, the first requirement is to seek the pleasure that is peculiar to it in the purely aesthetic sphere, without transgressing into the region of pity, fear, or the morally sublime. How can the ugly and the disharmonic, the content of the tragic myth, stimulate aesthetic pleasure?

為了説明悲劇神話，第一個要求是：它的特殊快感。必須在純粹審美範圍內尋求，而不應侵入憐憫和恐懼，或道德崇高等領域。然而，醜惡和不和諧、悲劇神話的內容，又怎能喚起審美快感呢？

Here it becomes necessary to take a bold running start and leap into a metaphysics of art,by repeating the sentence written above, that existence and thee world seem justified only as an aesthetic phenomenon.

現在，我們必須勇往直前，躍入藝術哲學的領域。所以，我要重複我上文的命題：只有作為一種審美現象，人生與世界才顯得合情合理。

In this sense, it is precisely the tragic myth that has to convince us that even the uglyand disharmonic are part of an artistic game that the will in the eternal amplitude of itspleasure plays with itself.

在這一意義上，悲劇神話的功能，就在於使我們相信：甚至醜惡與不和諧也是一種藝術遊戲，意志便以此自娛，而永遠充滿快樂。

But this primordial phenomenon of Dionysian art is difficult to grasp, and there is only one direct way to make it intelligible and grasp it immediately: through the wonderful significance of musical dissonance. Quite generally, only music, placed beside the world, can give us an idea of what is meant by the justification of the world as an aesthetic phenomenon.

然而，這種難以領悟的醉境藝術的原始現象，在所謂“音樂的不和諧”的特殊意義上，立刻顯得無比地明晰，而且可以直接體會；正如，一般地説，唯有以音樂同世界對照，我們對於所謂為世界辯護的審美現象之意義，才能有一個概念。

The joy aroused by the tragic myth has the same origin as the joyous sensation of dissonance in music.

悲劇神話所喚起的快感，與音樂上不和諧所喚起的快感，本是同出於一個根源。

The Dionysian, with its primordial joy experienced even in pain, is the common source of music and tragic myth.

酒神祭的熱情，及其在痛苦中體驗到的原始快感，就是音樂與悲劇神話的共同根源。