悲劇的誕生The Birth Of Tragedy 第34期:人類的本相

The satyr and the idyllic shepherd of later times have both been products of a desire for naturalness and simplicity.

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薩提兒和近代牧歌中的牧童，兩者都是對原始自然因素的懷眷之產物。

But how firmly the Greek shaped his wood sprite, and how self-consciously and mawkishly the modern dallies with his tender, fluting shepherd!

然而，希臘人多麼堅定而果敢地擁抱林野之人，而現代人卻多麼靦腆而畏縮地戲弄慢吹橫笛、多情善感的牧童的媚態。

For the Greek the satyr expressed nature in a rude, uncultivated state:

希臘人在薩提兒身上見到的，是未受知識玷染，未入文明門閥的自然：

he did not, for that reason, confound him with the monkey.

但是我們不應因此就把薩提兒同原始人混爲一談。

Quite the contrary, the satyr was man's true prototype, an expression of his highest and strongest aspirations.

反之，薩提兒是人類的本相，是人類的最高最強的激情之體現。

He was an enthusiastic reveler, filled with transport by the approach of the god; a compassionate companion re enacting the sufferings of the god; a prophet of wisdom born out of nature's womb; a symbol of the sexual omnipotence of nature, which the Greek was accustomed to view with reverent wonder.

是因接近神靈而樂極忘形的飲客，是與神靈同甘共苦的多情的伴侶，是宣泄性靈深處的智慧之先知，是自然的萬能性愛之象徵，希臘人往往對它另眼相看，肅然起敬。