悲劇的誕生The Birth Of Tragedy 第101期:我能運用一種魔力

To this most important insight of aesthetics (with which, in the most serious sense, aesthetics properly begins), Richard Wagner, by way of confirmation of its eternal truth, affixed his seal, when he asserted in his Beethoven that music must be evaluated according to aesthetic principles quite different form those which apply to all plastic arts, and not, in general, according to the category of beauty;

關於這一最重要的美學見解，（嚴格的說，真正的美學是從它開始的），理查·瓦格納曾予以保證，肯定它是永恆真理。他在“貝多芬論”中曾斷言：音樂的評價， 必須依照不同於一切造型藝術原理的審美原理，一般地說，不應該根據美這範疇來評論；

although an erroneous aesthetics, inspired by a mistaken and degenerate art, has, by virtue of the concept of beauty obtaining in the plastic domain, accustomed itself to demand of music an effect similar to that produced by works of plastic art, namely, the arousing of delight in beautiful forms.

雖則今日有一種錯誤的美學，依據一種腐化墮落的藝術，習慣了那隻適用於造型藝術的審美概念，要求音樂產生與造型藝術相同的效果，換句話說，要求音樂能喚起對美的形式的快感。

Having recognized this extraordinary contrast, I felt a strong need to approach the essence of Greek tragedy and, with it, the profoundest revelation of the Hellenic genius; for I at last thought that I possessed a charm to enable me--far beyond the phraseology of our usual aesthetics--to represent vividly to my mind the fundamental problem of tragedy;

根據這一巨大的對立，我覺得很有必要進一步探索希臘悲劇的本質，從而深刻地揭示希臘的天才，因爲我畢竟相信我能運用一種魔力，可以超出今日流行的美學術語之外，使悲劇的基本問題鮮明地浮現在我心中。

whereby I was granted such a surprising and unusual insight into the Hellenic character that it necessarily seemed to me as if our classical-Hellenic science that bears itself so proudly had thus far contrived to subsist mainly on shadow plays and externals.

因此， 我對於希臘人的特性獲得非常深刻的體會，使我不禁覺得：那些自命不凡的希臘古學研究，至今還是捕風捉影，只滿足於膚淺的認識而已。