悲劇的誕生The Birth Of Tragedy 第17期:天才的幻影
The sculptor, as well as his brother, the epic poet, is committed to the pure contemplation of images.
造型藝術家，乃至與他近似的史詩詩人，沉湎在形象的純粹觀照裏。
The Dionysian musician, himself imageless, is nothing but original pain and reverberation of the image.
酒神型音樂家則無需形象，他自己就是純粹觀照的原始痛苦及其原始反響。
Out of this mystical process of un-selving, the poet's spirit feels a whole world of images and similitudes arise, which are quite different in hue, causality, and pace from the images of the sculptor or narrative poet.
抒情的天才獨能感覺到一個畫景象徵世界從神祕的玄同忘我之境中產生。這一境界另有一種色彩，一種因果，一種速度，與造型藝術家和史詩詩人的世界絕不相同。
While the last lives in those images, and only in them, with joyful complacence, and never tires of scanning them down to the most minute features, while even the image of angry Achilles is no more for him than an image whose irate countenance he enjoys with a dreamer's delight in appearance--so that this mirror of appearance protects him from complete fusion with his characters--the lyrical poet, on the other hand, himself becomes his images, his images are objectified versions of himself.
因爲後者生活在這些畫景中，而只有在畫景中才欣然自得，他靜觀萬象，秋毫不爽，卻依依不捨，樂此而不疲。甚至憤怒的阿客琉斯的形象，在他看來，也不過是一幅畫景而已。他懷着追求幻夢的快感來欣賞阿客琉斯的憤怒表情。所以，在這幻影的掩護下，他就不致與詩中人物共甘苦，同呼吸。反之，抒情詩人所描寫的畫景不是別的，正是他本人，而且彷彿只是他自己的各種投影，
Being the active center of that world he may boldly speak in the first person, only his "I" is not that of the actual waking man, but the "I" dwelling, truly and eternally, in the ground of being.
因此他好象就是宇宙的運動的中心，可以高談自我，不過，這個“我”，當然不是清醒的實踐中人的“我”，而是潛藏在萬象根基中唯一真正存在的永恆的“我”，
It is through the reflections of that "I" that the lyric poet beholds the ground of being.
而憑藉這個我的反映，抒情的天才就能夠洞察萬象的根基。
Let us imagine, next, how he views himself too among these reflections--as non-genius, that is, as his own subject matter, the whole teeming crowd of his passions and intentions directed toward a definite goal; and when it now appears as though the poet and the nonpoet joined to him were one, and as though the former were using the pronoun "I," we are able to see through this appearance, which has deceived those who have attached the label "subjective" to the lyrical poet.
現在，我們再假定：他在這些形象中也見到自己是非天才，換句話說，見到他的“主體”，他那一股主觀的熱情與激動，對着某一在他看來似乎是真實的對象而發；那時，抒情的天才就彷彿與非天才結合爲一，而天才彷彿是自動地說出“我”這個字。然而，這個表面現象再不能把我們引入迷途，雖則有些人確實會被它迷惑，而把抒情詩人稱爲主觀詩人。
The man Archilochus, with his passionate loves and hates, is really only a vision of genius, a genius who is no longer merely Archilochus but the genius of the universe, expressing its pain through the similitude of Archilochus the man.
其實，熱情磅礴，既愛人類又恨人類的阿奇洛科斯，不過是天才的一個幻影而已；此時此際，他已經再也不是阿奇洛科斯，而是世界天才假借阿奇洛科斯其人象徵地說出自己的原始痛苦；
Archilochus, on the other hand, the subjectively willing and desiring human being, can never be a poet.
但是具有主觀意志和慾望的人阿奇洛科斯，卻無論何時也不能是個詩人。
Nor is it at all necessary for the poet to see only the phenomenon of the man Archilochus before him as a reflection of Eternal Being: the world of tragedy shows us to what extent the vision of the poet can remove itself from the urgent, immediate phenomenon.
然而，這位抒情詩人也不一定只能見到通過阿奇洛科斯其人反映永恆存在的這一現象；希臘悲劇就證明了：抒情詩人的幻想世界，同這種當然與它有密切關係的現象，相去甚遠。
