悲劇的誕生The Birth Of Tragedy 第124 吟詠調
The listener who insists on distinctly hearing the words under the music has his desire fulfilled by the singer
in that the latter speaks rather than sings, intensifying the pathetic expression of the words by means of this half-song.
因爲歌者與其是唱歌，毋寧是說話，在半唱半說中加強感傷詞句的印象。By this intensification of the pathos he facilitates the understanding of the words and overcomes the remaining half of the music.
感染力既加強，他就使人更容易瞭解歌詞的意義，從而戰勝了餘下一半的音樂，
The specific danger now threatening him is that in some unguarded moment he may stress the music unduly, which would immediately entail the destruction of the pathos of the speech and the distinctness of the words;
現在威脅着他的特殊危機是他有時一不留神會過分強調了音樂。這就勢必破壞語言的感染力和字句的明晰性；while, on the other hand, he feels himself continually impelled to musical discharge and a virtuoso exhibition of his vocal talent.
但是，另一方面，他往往感到一種衝動，要唱出音樂的調子和表演歌喉的造詣。Here the "poet" comes to his aid, who knows how to provide him with abundant opportunities for lyrical interjections, repetitions of words and sentences, etc.
在這場合，“詩人”來幫助他了，詩人知道怎樣供給他許多機會來作抒情的感嘆，字句的反覆吟哦等等，--at which places the singer, now in the purely musical element, can rest himself without paying any attention to the words.
——在這些地方，歌者現在處於純音樂氣氛中，就可輕鬆一些，不必兼顧歌詞了。This alternation of emotionally impressive speech which, however, is only half sung, with interjections which are wholly sung, an alternation characteristic of the stilo rappresentativo,
只是半唱的情感動人的語言，完全唱腔的感嘆調子，彼此交替（這是抒情調的特色之所在），this rapidly changing endeavor to affect now the concepts and imagination of the hearer, now his musical sense, is something so utterly unnatural and likewise so intrinsically contradictory both to the Apollinian and Dionysian artistic impulses, that one has to infer an origin of the recitative lying outside all artistic instincts.
時而訴諸聽衆的理解力和想象力，時而訴諸他的音樂感：——這種迅速變化的唱法，是極其不自然的，而且本質上是同夢境和醉境的藝術衝動互相矛盾的，所以我們必須推斷吟誦調的起源乃是在一切藝術本能的範圍之外。According to this description, the recitative must be defined as a mixture of epic and lyric delivery,not by any means as an intrinsically stable mixture,
由此觀之，吟誦調應該界說爲史詩朗誦與抒情詩吟誦相混合，當然這絕不是內在的穩定的相混合，a state not to be attained in the case of such totally disparate elements, but as an entirely superficial mosaic conglutination,such as is totally unprecedented in the domain of nature and experience.
因爲兩種完全差異的成份是不能達到這情況的，這是象鑲嵌細工表面上粘在一塊罷了。這樣的粘合在自然領域和經驗領域中沒有前例。But this was not the opinion of the inventors of the recitative:
然而，這並不是吟誦調發明者的意見。they themselves, together with their age, believed rather that the mystery of antique music has been solved by this stilo rappresentativo,
他們自己及其時代寧肯相信；這種抒情調已經解答了古代音樂之謎。in which, so they thought, was to be found the only explanation of the enormous influence of an Orpheus, an Amphion, and even of Greek tragedy.
奧斐斯，安斐翁，甚至希臘悲劇之巨大影響，只能以此解釋。
