悲劇的誕生The Birth Of Tragedy 第150 音樂與悲劇神話
Music and tragic myth are equally expressions of the Dionysian capacity of a people, and they are inseparable.
Both derive from a sphere of art that lies beyond the Apollinian; both transfigure a regionin whose joyous chords dissonance as well as the terrible image of the world fade away charmingly; both play with the sting of displeasure, trusting in their exceedingly powerful magic arts; and by means of this play both justify the existence of even the "worst world."
兩者都溯源於夢境領域之外的一個藝術領域；兩者都美化了一個境界，那兒，在快樂的和諧中，一切不和諧的因素和恐怖的世界面影都動人地消逝了；兩者都信賴自己的極其強大的魔力。玩弄着哀感的芒刺；兩者都以這種遊戲來證實甚至有個“最壞的世界”。Thus the Dionysian is seen to be, compared to the Apollinian, the eternal and original artistic power that first calls the whole world of phenomena into existence--and it is only in the midst of this world that a new transfiguring illusion becomes necessary in order to keep the animated world of individuation alive.
在這場合，酒神比起夢神來，就顯然是永恆的本源的藝術力量；要之，他喚起了整個現象界，在這當中，必須有一種新的美化的假象，才能使得個性化的世界永遠栩栩如生。
If we could imagine dissonance become man--and what else is man?--this dissonance, to be able to live, would need a splendid illusion that would cover dissonance with a veil of beauty.
如果我們能設想“不和諧”化身爲人——否則人是甚麼呢？——那末，爲着生存下去，這種不和諧的化身，就需要一種壯麗的幻象，以美的面紗來罩住它的容貌。This is the true artistic aim of Apollo in whose name we comprehend all those countless illusions of the beauty of mere appearance that at every moment make life worth living at all and prompt the desire to live on in order to experience the next moment.
這就是夢境藝術的真正目的；我們把這美麗幻景的無數表現統稱爲夢境藝術，它們在每一剎間都使得一般生活值得留戀，而且驅使我們去體驗最近的未來。Of this foundation of all existence--the Dionysian basic ground of the world--not one whit more may enter the consciousness of the human individual than can be overcome again by this Apollinian power of transfiguration. Thus these two art drives must unfold their powers in astrict proportion, according to the law of eternal justice.
同時，凡是人從萬有之根源，從世界的醉境底層，所能意識到的，都可能被夢神的美化威力再度克服；所以這兩種藝術衝動，不得不依照永恆正義之規律，按嚴格的互相比例，各自展開其威力。Where the Dionysian powers rise up as impetuously as we experience them now, Apollo, too, must already have descended among us, wrapped in a cloud; and the next generation will probably behold his most ample beautiful effects.
當酒神的威力以我們所目睹之勢，高漲起來，夢神也定必披上雲彩，降臨到人間，未來的世代行將見到他的最豐富最美麗的效果。That this effect should be necessary, everybody should be able to feel most assuredly by means of intuition, provided he has ever felt, if only in a dream, that he was carried backinto an ancient Greek existence.
然而，任何人也一定可以憑直覺知道這效果的必要性，只要他一旦，哪怕是在夢中，覺得自己回到古希臘的生活中。Walking under lofty Ionic colonnades, looking up toward a horizon that was cut off by pure and noble lines, finding reflections of his transfigured shape in the shining marble at his side, and all around him solemnly striding or delicately moving human beings, speaking with harmonious voices and in a rhythmic language of gestures--in view of this continual influx of beauty, would he not have to exclaim, raising his hand to Apollo: "Blessed people of Hellas! How great must Dionysus be among you if the god of Delos considers such magic necessary to heal your dithyrambic madness!"
躑躅在伊奧尼亞頎長的柱廊下，仰望輪廓鮮明的天涯，身旁燦爛的雕塑反映着自己的美化的風姿，周圍的人們在莊嚴地遊行，或者溫柔地走動，唱着和諧的清歌，踏着律動的舞步；——在美的不斷流入中，他怎能不舉起雙手對着夢神阿波羅喊道：“幸福的希臘人啊！在你們中間酒神狄奧尼索斯定必是多麼偉大呀，如果提洛斯之神阿波羅認爲必須以這樣的魔力來醫治你們的酒神狂熱！”To a man in such a mood, however, an old Athenian, looking up at him with the sublime eyes of Aeschylus, might reply: "But say this, too, curious stranger: how much did this people have to suffer to be able to become so beautiful! But now follow me to witness a tragedy, and sacrifice with me in the temple of both deities!"
然而，對於懷着這樣心情的人，雅典的老人也許會用埃斯庫羅斯的崇高的目光望着他，說道：“好奇的來客啊！您也應該說：這個民族受過多少苦難，才能夠這樣美呀！可是，跟我去看悲劇吧，和我一起在這位神靈的廟壇獻上祭牲！”
