悲劇的誕生The Birth Of Tragedy 第42期:戲劇藝術的先決條件
Enchantment is the precondition of all dramatic art.
In this enchantment the Dionysian reveler sees himself as satyr, and as satyr, in turn, he sees the god.
在這魔力下，酒神祭飲者看見自己變成薩提兒。而且，又以薩提兒的地位來觀照神。In his transformation he sees a new vision, which is the Apollinian completion of his state.
也就是說，他在變化時看見身外的一個新幻象，這是他的心情達到了夢境的高峯。
And by the same token this new vision completes the dramatic act.
到了這新幻象，這出活劇便完結了。Thus we have come to interpret Greek tragedy as a Dionysian chorus which again and again discharges itself in Apollinian images.
照這觀點來看，我們必須把希臘悲劇看作酒神歌隊不斷在夢境幻象中再三突變。Those choric portions with which the tragedy is interlaced constitute, as it were, the matrix of the dialogue, that is to say, of the entire stage-world of the actual drama.
所以，那些交織在悲劇中的合唱部分，就彷彿是全部所謂對白。即，整個舞臺境 界，戲曲本部的孃胎。This substratum of tragedy irradiates, in several consecutive discharges, the vision of the drama--a vision on the one hand completely of the nature of Apollinian dream-illusion and therefore epic, but on the other hand, as the objectification of a Dionysian condition, tending toward the shattering of the individual and his fusion with the original Oneness.
在連續突變中，這個悲劇根源就放射出戲劇的幻境，這幻境完全是夢境，既是夢境，所以帶有史詩的性質。然而，另一方面，它是醉境心情的具體化，並不就是夢境的假象救濟；反之，它顯示個人的毀滅以及個人與萬有根源的結合。Tragedy is an Apollinian embodiment of Dionysian insights and powers, and for that reason separated by a tremendous gulf from the epic.
所以，悲劇乃是醉境中的認識和影響具體化爲夢境，因此悲劇與史詩 之間隔着一個深淵。
